University of Southern California Dissertations and Theses

William Faulkner: From Past To Self-Discovery; A Study Of His Life And Work Through 'Sartoris' (1929)

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William Faulkner: From Past To Self-Discovery; A Study Of His Life And Work Through 'Sartoris' (1929)

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Content This dissertation has been 64-2602 microfilmed exactly as received RICHARDSON, Harold Edward, 1929- WILLIAM FAULKNER: FROM PAST TO SELF- DISCOVERY; A STUDY OF HIS LIFE AND WORK THROUGH SARTORIS (1929). University of Southern California, Ph.D ., 1963 Language and literature, modern University Microfilms, Inc., Ann Arbor, Michigan C op yrigh t (c) by H arold E d w ard R ic h a r d so n 1964 W ILLIAM FA U L K N E R : FRO M P A S T TO SE L F -D ISC O V E R Y A STUDY OF HIS L IF E AND WORK THROUGH SARTORIS (1929) by H a ro ld E dw ard R ich a rd so n A D is s e r ta tio n P r e s e n t e d to th e FA C U L T Y OF THE G RADUATE SCHOOL U N IV ER SITY OF SO UTH ERN C A LIFO R N IA In P a r tia l F u lfillm e n t of th e R e q u ir e m e n ts fo r th e D e g r e e DOCTOR OF PH ILO SO PH Y (E n g lish ) June 1963 UNIVERSITY O F SOUTHERN CALIFORNIA GRADUATE SCHOOL UNIVERSITY PARK LOS ANGELES 7 . CALIFO RNIA This dissertation, written by .................H a ro ld .E d w A r.d .-R i.c lx a rd ^ .Q n ................... under the direction of his..— Dissertation C om mittee, and approved by all its members, has been presented to and accepted by the Graduate School, in partial fulfillment of requirements for the degree of D O C T O R O F P H I L O S O P H Y Dean Date. Ju n e,...1.9.6 3...................................... DISSERTATION COMMITTEE C O N TEN TS C hap ter P a g e I. O X FO RD A N D THE FA U L K N E R S: R O O T S .................... 1 II. BOYHOOD: L O O M IN G S ............................................................. 33 III. M A E C E N A S AND M ARS: PO R T R A IT IN M A R B L E . . 57 IV. THE ST U D E N T "COUNT": U N IV ER SITY, M IS S IS S IP P I............................................................................... 91 V. TH E "T IE L E SS CASUAL": A M E D L E Y ........................... 128 VI. IN TE R M E Z Z O : A G R E E N B O U G H ..................................... 156 VII. TH E V IEU X C A R R £: A N D ER SO N 'S IN F L U E N C E . . 178 VIII. SO LDIERS' PAY: D ETO U R THROUGH D E C A D E N C E ............................................................................ 210 IX. SA R T O R IS: HOME A G A IN .......................................................... 249 X. C O N C L U S IO N ..................................................................................... 278 B IB L IO G R A P H Y ................................................................................................ 287 ii CHAPTER I OXFO RD A N D THE FA U LK N ER S: ROOTS M o st of W illia m F a u lk n e r 's books a r e c lo s e ly r e la te d w ith the n o r th er n M is s is s ip p i a r e a . Som e of th e ir s c e n e s a r e m o d e le d a fter su ch h a m le ts a s Dutch B end in L a fa y ette C ounty, or su ch tow n s as R ip le y , th e cou n ty se a t of T ippah County and th e h o m e of F a u lk n e r 's fa m o u s g r e a t-g r a n d fa th e r . O th ers fin d th e ir s e ttin g s a s fa r n o rth as H o lly S p rin gs and M em p h is, T e n n e sse e ; o r, sou th w ard aga in , a lo n g the M is s is s ip p i D e lta and in C la r k sd a le . O xford, h o w e v e r , lon g th e h om e of th e au th or, and h is b u r ia l ground , is the p r in c ip a l s o u r c e of h is r e g io n a l w ork . F o r a p e r s o n acq u a in ted w ith F a u lk n e r 's b o o k s, v is itin g O xford fo r the f i r s t tim e is a good deal lik e h avin g th e m y th ic a l tow n of J e ffe r s o n m a t e r ia liz e b e fo r e o n e 's e y e s . A ctu a l d e ta ils s e e m to be fic tio n a lly fa m ilia r : th e c o u r th o u se and tow n sq u a re, th e C o n fed era te s o ld ie r on h is n a rro w p e d e s ta l, th e w ood en " g a lle r ie s " alon g the s id e s bf b u sin e s s b u ild in g s, and the F i r s t N a tio n a l Bank on one c o r n e r - - t h e sa m e bank w h ich F a u lk n e r 's g ra n d fa th er, J. W. T. F a lk n e r , know n as the "Young C o lo n el," ow ned and o p e r a te d w h en W illia m w a s a b oy g ro w in g up in th e tow n. No g r e a t s tr e tc h of th e im a g in a tio n is n e ed ed to s e e how c lo s e ly it r e s e m b le s o ld B ayard S a r to r is 1 bank in th e f ir s t h o v e l of the Y oknapataw pha s e r i e s , S a r to r is (1929). The l a s t W illia m Cuthbert'*' F a u lk n er w as b o rn S ep tem b er 25, 1 8 9 7 , in N ew A lb an y, M is s is s ip p i, and alth ough the fa m ily did not co m e to O xford u n til 1902, th e e a r lie s t F a lk n e r fo r e b e a r to s e t tle in the a r e a j 2 p ro b a b ly a r r iv e d th e r e in 1839. R e fe r e n c e w o r k s su ch as E n c y c lo p e d ia A m e r ic a n a , 1954, XI, 63, l i s t " H a rriso n " a s th e m id d le n a m e. C r itic a l b io g r a p h ie s u su a lly f a il to m e n tio n h is m id d le n am e a lto g e th e r . H o w ev er, F a u lk n e r 's j c lo s e s t fr ie n d , (s e e C h ap ter III) P h il S ton e, in te r v ie w e d by m e (O xford, j iMi s s is s ip p i) , 2:30 P .M ., Ju ly 27, 1962, c la im s th at F a u lk n er w a s nam edj "C uthbert" fr o m the b eg in n in g , th e sa m e a s h is g r e a t-g r a n d fa th e r , and ; e x p la in s th e ch an ge sim p ly : "He co u ld n 't stan d th e n a m e." T h is f ir s t c o n v e r s a tio n w ith Stone w ill be d e sig n a te d a s In te r v iew N o. 1 in fu rth e r i r e f e r e n c e s . C o lo n e l W illia m C uth bert F a lk n e r , the a u th o r 's g r e a t-g r a n d fa th e r , s e t tle d in R ip le y , lo c a te d a p p r o x im a te ly fo r ty m ile s n o r th ea st of; O xford and tw e n ty m ile s sou th of the T e n n e s s e e b o r d e r . C on cern in g th e v a ria n t s p e llin g of th e fa m ily 's su r n a m e , W ard L. M in er, The j W o rld of W illia m F a u lk n er (D urham , 1952), p. 57, n o te s: "W hen the c o n te m p o r a r y n o v e lis t's f ir s t book The M a rb le F au n [1 9 2 4 ], w a s pub lis h e d , a m is p r in t m a d e F a lk n e r in to F a u lk n er, and so it h a s r e m a in ed ." W illia m V an O 'C onnor, W illia m F a u lk n e r , U n iv e r s ity of I M in n eso ta P a m p h le ts on A m e r ic a n W r ite r s , No. 3 (M in n ea p o lis, 1959), i p . 4, e x p la in s th e s p e llin g d is tin c tio n p a r e n th e tic a lly : "T he u w as added; to th e fa m ily n am e by the p r in te r w ho s e t up W illia m 's f i r s t book." T h a t the fa m ily nam e w a s o r ig in a lly s p e lle d w ith th e u, h o w e v e r , is o b - j s e r v e d by Joh n B. C u llen and F lo y d C. W atk ins, Old T im e s in the F a u lk n er C ou n try (C h ap el H ill, 1961): w h en F a u lk n er w a s a boy, the fa m ily s t ill s p e lle d its n a m e "w ithout a u, but W illia m h a s r e s to r e d th e le t t e r d ro p p ed by h is g r e a t-g r a n d fa th e r " (p. 3, it a lic s ad d ed ). R obert C oughlan, "T he P r iv a te W orld of W illia m F a u lk n er," L ife , P t. 2 (O ctob er 5, 19 5 3 ), p. 128, r e p o r ts th at the g r e a t-g r a n d fa th e r dropped th e u s o m e tim e a fter 1872 and b e fo r e 1880, fo r , a s th e fa m ily sto ry w en t, th ere w e r e " so m e n o -g o o d p e o p le n a m ed F a u lk n er dow n around P o n to to c," and the old C o lo n el did not w an t to be c o n fu se d w ith th em . J a m e s B. M e r iw e th e r , T he L ite r a r y C a r e e r of W illia m F a u lk n er (P r in c e to n , N ew J e r s e y , 1961), p . 7, n o tes: " W illia m F a u lk n er apparent-: ly f ir s t a d d ed th e 'u' to h is su rn a m e w h ile in th e R A F , and a fterw a rd r e ta in e d it a s h is 'lite r a r y ' sig n a tu r e ." In m y own r e s e a r c h , h o w e v e r , ; jl found F a u lk n e r 's n a m e s p e lle d " F alk n er" a s a sig n a tu r e to a ll h is M is s is s ip p ia n p o e m s p u b lish e d w h ile h e w a s a stu d en t at O le M iss j Rafter the w a r , 1 9 1 8 -1 9 1 9 . C a r v el C o llin s, " F a u lk n er at th e U n iv e r sity ;of M is s is s ip p i," W illia m F a u lk n er: E a r ly P r o s e and P o e tr y (B oston , 1 9 6 2 ), pp. 1 0 -1 3 , tr e a ts th e p r o b le m w ith co n v in cin g th o ro u g h n e ss, istating th at th e "u" a p p ea r e d in th e n am e " in te r m itte n tly so m e y e a r s b e fo r e the p u b lic a tio n o f The M arb le F a u n ," f ir s t w h en F a u lk n er s ig n e d T he n o r th -c e n tr a l M is s is s ip p i r e g io n is s p a r s e ly s e t t le d in i c o m p a r is o n to th e r ic h D e lta la n d to th e w e s t and th e m o r e p r o d u c tiv e g r a s s la n d s to th e e a s t . L a fa y e tte -C o u n ty h a s en ou gh tim b e r to su p p o rt i s e v e r a l sa w m ills and so m e g o o d v a lle y la n d , but th e s o il is g e n e r a lly p o o r and the fa r m s in e ff ic ie n tly c u ltiv a te d . The O xford a r e a is s u r rou n d ed b y red c la y h ills w h ic h a re o fte n e r o d e d and h en ce of lit t le a g r ic u ltu r a l im p o r ta n c e . M any p e o p le w h o co m e to the r e g io n fo r th e j ; f ir s t t im e a re sh o c k e d by th e o b v io u s p o v e r ty and la c k of p r o g r e s s . Y et, if th e sa m e p e o p le r e m a in lo n g en o u g h , th ey o ften d is c o v e r a 3 q u a lity of p r im itiv e , fo r e s te d b ea u ty in th e land. T he O xford c o u r th o u se , c o v e r e d w ith w h ite stu c c o , d o m in a te s th e to w n sq u a r e . Its m o s t p r o m in e n t fe a tu r e s a r e it s lo w e r a r c a d e s , | h ig h e r c o lu m n s, and to w er w ith a f o u r - fa c e d c lo c k . S u rrou n d in g th e sq u a r e and fa c in g th e c o u r th o u se a r e th e c o m m e r c ia l b u ild in g s of b rick j and s tu c c o , in w h ic h a good p o r tio n of L a fa y e tte C ou n ty's b u s in e s s is tr a n s a c te d . A m o d e r n j e w e lr y sto r e c o n tr a s ts m a r k e d ly w ith t a ll, o ld - j | fa s h io n e d w o o d en g a lle r ie s a c r o s s th e in t e r s e c t io n of South L a m a r S tr e e t. W hen I v is it e d th e to w n in J u ly , 1962, th e fa r m e r s w e r e d i s p la y in g v e g e t a b le s - - " r o a s t in g e a r s ," " h a lf-r u n n er " b e a n s, r ip e t o m a t o e s , and " K entucky W ond er" g r e e n b e a n s, e v e n though it w a s W ed - : h e s d a y and not th e u su a l S a tu rd a y m a r k e t day. P a r k in g w a s s o m e tim e s ; ihis n a m e w ith th e "u" w h ile w o rk in g fo r an a r m s fa c to r y in C o n n ecticu t jfrom A p r il to J u n e, 1918. C o llin s c o n c lu d e s , "the a n sw er to th e q u e s tio n W ho P ut th e 'u 1 in W illia m F a u lk n e r 's N a m e? is W illia m F a u lk n e r "; j(ita lic s added ). ! ! " 2 ; M ed fo rd E v a n s, " O xford , M is s is s ip p i," S o u th w est R e v ie w , |15:46, A utum n 1929- tw o -d e e p a s p e o p le p u lle d up to th e sta n d s and c h o se th e ir p ro d u ce as c a s u a lly a s w e shop w ith c a r ts in th e s u p e r m a r k e ts of C a lifo r n ia . A m on g the to w n sp eo p le w e r e th o se a F a u lk n er r e a d e r w ould a n ticip a te: j s h ir t - s le e v e d m e r c h a n ts , th e " r ed n e ck s," N e g r o e s , h o u se w iv e s in s ta r c h y p r in t d r e s s e s and b ro a d h a t s - - s e v e r a l la d ie s w ith u m b r e lla s h o is te d in to the bu rn in g su n sh in e. But b u s in e s s s e e m e d p r o s p e r o u s. P e o p le m o v e d in and out of the s t o r e s , m a n y of th em w ith m o d e r n iz e d fr o n ts and in t e r io r s , and not a few of th e m e n w e r e d r e s s e d in P a lm B ea c h or s e e r s u c k e r su its and th e w o m e n in m o d ish su m m e r g a r m e n ts.; In c o n tr a st w ith th e s e w e r e th e fa r m e r s , m o s t of th em s e n io r c it iz e n s , ; w ho lo a fe d around th e c o u r th o u se , s ittin g on b e n ch es un der th e shade j tr e .es. P r e s e n t and p a s t s e e m e d to m e r g e . In th e 1 9 3 0 's th e r e r e m a in e d an ir o n fe n c e around th e c o u r th o u se 4 to w h ich fa r m e r s tie d th e ir h o r s e s . D riv in g th rou gh th e sq u a r e one S atu rd ay ev en in g in 1938, F a u lk n er to ld a v is it o r , T h ere w e r e no A m e r ic a n fla g s h e r e w h en I w a s a boy. . . . You n e v e r saw one e x c e p t on the F e d e r a l B u ild in g. But th ey c a m e in during, th e [ F ir s t W orld ] w a r and now e v e r y s to r e h a s a s o c k e t for a fla g p t Som e o ld er d e s c r ip tio n s o f th is m u ch -p h o to g ra p h ed h e a r t of Q x-j fo r d h ave b e e n a ll to o p ic tu r e s q u e in th e ir la c k of to le r a tio n . The c o u r ty a r d is a p la c e w h e r e the p ig e o n s h ave d e v e lo p e d a r em a rk a b le d e g r e e of b u r lin e s s , and w h e r e v e n e r a b le d e n iz e n s, " w hose b e a r d s h a v e b e c o m e to b a c c o -tin c tu r e d to th e r e q u ir e d sa ffro n ," c o m p e te in a j | : I 4 M is s is s ip p i: A Guide to the M a g n o lia S ta te, F e d e r a l W r ite r s' P r o je c t (N ew Y ork, 1938), p. 2 5 4 . H e r e a fte r r e f e r r e d to a s M is s is s ip p i. ^ R obert C a n tw ell, "T he F a u lk n e r s: R e c o lle c tio n s of a G ifted F a m ily ," N ew W orld W ritin g , N o. 2 (N ew Y ork, 1952), p. 307. unique s o r t of le g e n d a r y b a v a r d a g e . T he g ra n ite C iv il W ar m on u m en t, d e p ic tin g a C o n fed era te s o ld ie r tr a n q u illy h o ld in g h is r ifle in fr o n t of h im , is "one of a m u ltitu d e m a n u fa ctu red in e q u iv o c a l O hio and su p p lied to N orth and South a lik e." A g r o c e r y sto r e o n ce d isp la y e d the sig n , "D on't go e ls e w h e r e to g e t skinn ed ; c o m e in h e r e ." A nd th ere is the "huge oak u n d er w h ich G rant w ip ed the p e r s p ir a tio n fr o m h is b ro w on h is w a y to V ick sb u rg ," a m a r c h n oted , in c id e n ta lly , in F a u lk n e r 's S an c tu a r y .^ Such in d iv id u a l im p r e s s io n s a r e not on ly v a r ie d , but s o m e tim e s c o n tr a d ic to r y . One o b s e r v e r c la im e d th at as la te as 1929 sw in e w a l lo w e d in th e th o ro u g h fa re b e tw e e n th e c o u r th o u se and th e shops (G reen , p. 2 9 5 ), w h ile an oth er in autum n of th e sa m e y e a r w r o te that O xford, w ith it s p aved s t r e e t s , h ad b e e n s e le c t e d as "the c le a n e s t tow n in the s ta te . W h atever th e o u tla n d e r 's su r fa c e im p r e s s io n s of O xford m ig h t b e, its tr a d itio n s r e m a in o ld and d eep . The h on or of C ity F o u n d er w ill p r o b a b ly n e v e r b e u n a n im o u sly b e sto w e d upon any in d iv id u a l, fo r a n u m b er of e a r ly s e t t le r s h a v e b een n oted , e a ch w ith h is own c la im s fo r th e p r iv ile g e . S om e d e ta ils a r e r e c o r d e d w ith an n oyin g in c o n s is t e n c ie s . John C h ish o lm , John J. C ra ig , and John D. M a rtin c o n str u c te d a lo g s to r e n ea r w hat la te r b e c a m e the tow n sq u a r e , and on June 12, 1836, the th r e e s o m e p u r c h a se d a la r g e s e c tio n of la n d fr o m a C h ick asaw Indian w o m a n n a m ed H okah and don ated fifty a c r e s fo r the p u rp o se of ^ A rth u r W ig fa ll G reen , " W illiam F a u lk n er at H om e," S ew an ee R e v ie w , 4 0 :2 9 4 -2 9 5 , S u m m er 1932. n E v a n s, p. 47. M is s is s ip p i a g r e e s w ith E v a n s, sta tin g th a t O x fo r d w a s a w a rd ed a s ilv e r cup in 1928 "for b e in g th e c le a n e s t and b e st k ep t tow n in th e State" (p. 254). ^ 1 e sta b lis h in g a cou n ty s e a t, w h ich w a s in c o r p o r a te d on M ay 11, 1837. R o b ert S h egog and T h o m a s D. Iso m a r r iv e d sh o r tly th e r e a fte r and w en t in to b u s in e s s , Isom b e in g a c le r k in a s to r e b u ilt by S h eg o g (M i s s i s s i p p i, p. 255). O ther s o u r c e s m a in ta in th at T h o m a s D u d ley Isom w a s th e o r ig in a l fo u n d er, co m in g to the s ite of O xford in 1835, w h en he w a s i e ig h te e n y e a r s old, and b u ild in g th e to w n 's f ir s t sto r e; but th at about a 1 y e a r la te r h e retu r n e d to h is n a tiv e M aury C ounty, T e n n e s s e e , to b e - j h om e a d o c to r . S u cceed in g in ch an gin g h is p r o f e s s io n fr o m s t o r e - j k e e p e r to p h y sic ia n , he th en s e t tle d p e r m a n e n tly in O xford in 1839, fin d in g it a youn g and grow in g tow n , h a v in g "tw o h o t e ls , s ix s t o r e s , and | tw o s e m in a r ie s of ed u ca tio n ." H o w ev er, c o u r th o u se r e c o r d s show the e a r li e s t d e e d s r e c o r d e d to C ra ig , C h ish o lm , and M artin , and th e w e ig h t 8 of b e s t e v id e n c e s e e m s to fa v o r th em as c o -fo u n d e r s. M any of the s e t t le r s w e r e J a c k so n ia n D e m o c r a ts , p io n e e r s w ho j had co m e fr o m T e n n e s s e e , A la b a m a , and th e C a r o lin a s. B y 1840 th e r e j w e r e 3,689 w h ite s and 2 ,8 4 2 s la v e s liv in g in L a fa y ette C ounty. A lth ough j the tow n r e s u lte d fr o m flu sh t im e s , it g r ew stro n g en ou gh d u rin g its Q E v a n s, p. 48. C a n tw ell, "The F a u lk n e r s . . ." w r o te th at th e tow n w a s fou n ded in 1836 by a p h y sic ia n , T h o m a s Isom " (p. 307, it a lic s ■ iadded). H o w ev er, M in er ten d s to c o r r o b o r a te the v ie w su p p o rtin g th e j th r e e fo u n d ers m e n tio n e d in M is s is s ip p i, sta tin g th at the fic tio n a l a r e a ; had th r e e fo u n d ers a s did the a c tu a l O xford, F a u lk n e r 's in v en tio n s j h a v in g b e e n n am ed G r e n ie r , H a b ersh a m , and H olston; M in er adds th at j F a u lk n er a ls o a llu d ed to th e t r io in w r itin g th at "the d e te c tiv e -la w y e r j of K night1 s G am b it, G avin S te v e n s, is the la s t d esce n d a n t of th e th r e e I fo u n d ers of J e ffe r so n " (p. 93, it a lic s add ed). See a ls o the p r e fa to r y j h is to r y of O xford and L a fa y ette C ounty in "T our of P r e - C iv il W ar | H o m es in O xford, M is s is s ip p i," p u b lish e d b y the O x fo r d -L a fa y ette jCounty C h am b er of C o m m e r c e , w h ich s t a t e s , " T h ere is c o n sid e r a b le ievidence th a t . . . O xford w a s f i r s t a tr a d in g p o st am on g the C h ick a sa w j Indian s a s e a r ly a s 1830 or b e fo r e ." in fa n c y to s u r v iv e the P a n ic of 1837, and by 1840 had r e c o v e r e d to the e x te n t th at its c itiz e n r y c o m p le te d th e c o u r th o u se . The b e s t h o s t e lr y in tow n , n oted in T he O b se rv e r of S ep tem b er 16, 1843, a s a " la r g e b r ic k m a n sio n ," w a s lo c a te d on th e p r e se n t s ite of the C o lo n ia l H o tel and w a s ; b p er a te d by a C ap tain B u tle r , r e la te d to W illia m F a u lk n er th ro u g h I S a llie M urry F a lk n e r , h is g ra n d m o th er (M in er, pp. 2 9 -3 2 ). | The e s ta b lis h m e n t of th e F e d e r a l C ourt fo r the D is tr ic t of j : I N o r th e rn M is s is s ip p i in O xford w a s one of the e a r ly in c e n tiv e s fo r j b r in g in g su ch m e n as J a co b T h o m p so n and L u ciu s Q uintus C in cin n atu s j L a m a r to the to w n . The fo r m e r , a c o n g r e s s m a n and S e c r e ta r y of the j In te r io r under P r e s id e n t B uchanan, m o v e d th e r e fro m P o n to to c , M is s is j i . | sip p i, about 1839- L am a r, S en ator and la te r S e c r e ta r y of th e In te r io r in G r o v er C le v e la n d 's C ab in et, w a s a m a n w ho, in h is own w o r d s, " n ever m a d e p o p u la r ity th e sta n d a rd fo r m y action" ; and alth ough h is M is s is - i ! ! sip p i n e ig h b o rs co u ld not q u ite u n d ersta n d h is r e a s o n s fo r d o in g so , he j e u lo g iz e d C h a r le s Sum ner in a fa m o u s sp e e c h , w h ic h w on th e h e a r ts of i 9 ! h is n o r th er n co u n try m en . The e a r ly c o u r ts not on ly b rou gh t about an \ in flu x of la w y e r s , but a ls o co n trib u ted to a new co m m u n ity a tm o sp h e r e . T he fr o n tie r c it iz e n s w e r e d e lig h te d w ith th e w e a lth of le g a l ta le n t e x - j h ib ite d on the d a y s cou rt w a s in s e s s io n . R h e to r ic a l w it p r o life r a te d . I jThe w h o le a tm o sp h e r e r e s u lt e d in a un iqu e e m p h a sis bein g p la c e d on j ^ Iflorid la n g u a g e, h ig h ly e n te r ta in in g fo r th e lo c a l c itiz e n s . i i ! 9 i S ee Joh n F . K en n ed y, " L u ciu s Q uintus C in cin n atu s L a m a r," p r o f i l e s in C o u r a g e , C a rd in a l ed. (N ew Y ork, 1959), pp. 3 4 -3 5 . ^®For fu r th e r d e ta ils of O xford lo c a l c o lo r , s e e J o sep h G. jB aldw in, The F lu s h T im e s o f A la b a m a and M is s is s ip p i (1853); n o ted in j jM iner, pp. 3 4 -3 5 . O xford had b e e n c h o s e n a s th e n a m e fo r th e tow n in e x p e c ta tio n th a t a sta te u n iv e r s ity w o u ld b e e s t a b lis h e d th e r e .^ O xford w a s I aw ard ed the h o n o r by the n a rro w m a jo r ity of a s in g le v o te , and its B o a rd of T r u s t e e s w a s n am ed on F e b r u a r y 24, 1844. Such a d istin c tio n : w a s to in su r e a fu rth er e n r ic h m e n t of O xford c u ltu r e , b rin g in g to it j su c h g ifted m e n as A u g u stu s B ald w in L o n g s tr e e t, a grad u ate of Y a le. ! W hen he b e c a m e C h a n cello r of the U n iv e r sity of M is s is s ip p i, h e w a s a l r e a d y known a s an ed u ca to r and au th or, h a v in g s e r v e d as P r e s id e n t of E m o r y C o lle g e and h a v in g p u b lish e d G e o rg ia S c e n e s in 1835. F r e d e r - | ic k A u gu stu s P o r te r B a rn a rd f ir s t ca m e to the sc h o o l as a p r o f e s s o r of i m a th e m a tic s and a str o n o m y , but s e r v e d a s C h a n cello r fr o m 1858 u n til th e b eg in n in g o f the C iv il W ar. H is U nion sy m p a th ie s r e s u lte d in h is ! ; j r e sig n a tio n , but he la te r b e c a m e P r e s id e n t of C olu m b ia U n iv e r sity , j i Which he d is c o v e r e d to be "a seco n d - o r th ird -r a te co lle g e," and ind i- | c a te d so m e r e g r e t that h e had le ft "one of A m e r ic a 's lea d in g in s titu tio n s ." An e a r ly ch a m p io n of h ig h er ed u c a tio n fo r w o m en , he w a s in - j i ! str u m e n ta l in fou ndin g B a rn a rd C o lle g e (E v a n s, pp. 5 1 -5 2 ). T hrough J b oth the in t e r e s t of its c itiz e n s in p r o c u r in g the u n iv e r s ity and its n e a r - 1 i | h e s s , O xford q u ick ly c a m e u n d er the in flu e n c e of th e s c h o o l's c u ltu r a l j and s o c ia l lif e . ; , A lth ough no m a jo r b a ttle s w e r e fou gh t in O xford, the tow n w a s su b jec te d to r a id s d u rin g the C iv il W ar. In a ru sh of p a tr io tic fe r v o r , i th r e e of th e lo c a l c o m p a n ies e n lis te d fo r th e d u ra tio n in ste a d of sig n in g i i ] I ^ Joh n C. H athorn, "A P e r io d Study of L a fa y ette C ounty fr o m 1836 to I860 w ith E m p h a sis on P o p u la tio n G rou p s," unpub. m a s t e r 's t h e s is (U niv. o f M is s is s ip p i, 1939), p. 49; M in er n o tes th e r e fe r e n c e , p . 29- ! up fo r th e u s u a l tw e lv e m on th s of s e r v ic e (M is s is s ip p i, p. 2 5 5 ). The c o lle g e w a s c lo s e d d u rin g the w a r , and m a n y of its stu d en ts, fig h tin g h e r o ic a lly u n d er th e b an ner of th e " U n iv e r sity G ra y s," n e v e r had th e ■ i 12 ' op p ortu n ity to h o ld a reu n io n . T he w oun ded fr o m the B a ttle of S h ilo h ; : | w e r e h o s p ita liz e d in the u n iv e r s ity b u ild in g s. G rant h im s e lf o ccu p ied j : | the tow n in D e c e m b e r , 1862, but th e to w n 's w o r st e x p e r ie n c e of the w a r j ca m e on A u g u st 22, 1864: "The P u b lic E n em y u n d er A . J. S m ith c a m e I | to O xford . . . and b u rn ed the tow n , in clu d in g the c o u r th o u se ." The O x fo r d F a lc o n r e p o r te d th a t the tow n w a s a lm o s t " c o m p le te ly d em o lish ed " ! (M is s is s ip p i, pp. 2 5 5 -2 5 6 ). It is sta r tlin g to s e e ju st how d e s tr u c tiv e th e C iv il W ar w a s to th e a r e a . F r o m th e sta n d p o in t of p e r ca p ita w e a lth fo r th e w h ite pop u la tio n , M is s is s ip p i w a s r ic h e r th an any o th er sta te in the co u n try b efo re the w a r . S p e c ific a lly , th e p r o p e r ty of L a fa y ette C ounty had b een e v a lu - | i a ted at $ 1 5 ,9 6 2 ,2 0 0 ; but by th e en d of the w a r its v a lu e w a s on ly $ 3 ,3 3 9 , 7 1 6 , and in 1880 it d rop p ed fu rth e r to a m e r e $ 2 ,3 0 3 ,4 0 5 (E v a n s, pp. 50, 5 2 -5 3 ). U nd er th e sa p p in g d e stitu tio n of th e r e c o n s tr u c tio n p e r io d , it I w a s n a tu r a l th at the w an in g a r is t o c r a c y sh o u ld lo o k b ack to the d ays i i w h en its c u ltu re on ce flo u r ish e d : \ A n o p era h o u se w a s b u ilt b r in g in g m a n y fa m o u s e n te r ta in e r s to th e j tow n. Young m e n h e ld tiltin g to u rn a m en ts th at r e s e m b le d in c o lo r j and p a g e a n tr y th e jo u s ts of S c o tt's r o m a n c e s. S o b e r -m in d e d s c h o l a r s d iv id ed th e ir a tten tio n b e tw e en th e ir book s and a d d r e s s e s to the cro w d s g a th er e d on th e c o u r th o u se sq u a r e . (M is s is s ip p i, p. 255) !Yet, p r io r to th e w a r , the in itia l v ita lity o f fr o n tie r O xford, e v e n a s it i i Igrew and m e llo w e d , w a s a lr e a d y in a p r o c e s s of d e c a y . P h y s ic a l i C a n tw ell, "The F a u lk n er s . . ." p. 307. C ourage w a s g lo r if ie d and s e n t im e n t a liz e d in h ig h -s o u n d in g p h r a s e s . [Trying to s u r v iv e in a w o r ld of r e a lit y w ith im p o s s ib ly r o m a n tic iz e d id e a ls , th e p o s t - w a r s o u th e r n e r w a s s t i l l h a u n ted b y h is c iv iliz a t io n 's j m o r a l fla w o f s la v e r y . In r e t r o s p e c t , on e ca n s e e th a t e v e n m e n th e i ; s ta tu r e o f L o n g s tr e e t w e r e s u b je c t to su c h a ttr ib u te s of d e c a d e n c e a s I ! j p r o v in c ia lis m and is o la tio n : h e v o lu n ta r ily s e r v e d on a c o m m itte e to i p r o v id e S o u th ern te x tb o o k s fo r th e r e g io n 's s c h o o ls b e c a u s e "b ook s b y j N o r th e r n w r it e r s w e r e c o n s id e r e d h o s t ile to S o u th ern in s titu tio n s" i | (M in e r , pp. 3 9 -4 0 ). E v e n a s C a lv in is t ic N ew E n g la n d w a s b e in g l i b e r - ] a liz e d u n d er th e in flu e n c e o f E m e r s o n and o th er t r a n s c e n d e n t a lis t s , th e J e f f e r s o n ia n lib e r a lis m w h ic h f i r s t c h a r a c t e r iz e d th e a n te -b e llu m South w a s g r a d u a lly b e in g d is p la c e d by th e c o n s e r v a t is m of w e a lth y s e l f - j s e r v in g in t e r e s t s and th e e m o tio n a lis m w r o u g h t b y th e fu n d a m e n ta lis t j c ir c u it r i d e r s .^ j I | U n til 1890 O xford c o n tin u e d to fu r n ish th e s ta te and th e n a tio n i i ;with su c h ta le n te d le a d e r s a s L a m a r , T h o m p so n , Iso m , and H ill, but its j j . i c it iz e n s w e r e no lo n g e r w e a lth y and p o w e r fu l. F r o m 189 0 , th e s ta te | u n d e rw e n t a P o p u lis t r e v o lt , and b y 1 9 0 4 J a m e s K. V a rd a m a n b e c a m e I i jg o v ern o r, and w ith h im fo llo w e d a s u c c e s s io n of n ew p o lit ic a l v a lu e s [ and l e a d e r s - - t h e " J im C row " la w , i s s u e s of s e g r e g a tio n , and th e p o liti-l jcal d e m a g o g u e r y e p ito m iz e d b y T h e o d o r e G. B ilb o (M in e r , p . 59). j S in ce th e n th e s t a t e 's p o w e r s tr u c tu r e h a s r e m a in e d m o r e or l e s s | i s t a t ic , c h a n g in g lit t le d u rin g th e f i r s t h a lf of th e p r e s e n t c e n tu r y . A s la te a s 1952 th e a tm o s p h e r e of O xford w a s c h a r a c t e r iz e d b y ! 1 1 3 | A . B . L o n g s tr e e t h im s e lf w a s o n ce a M e th o d ist c ir c u it r id e r . jSee E v a n s, p . 51. j a le t h a r g ic , d r e a m - lik e q u a lity , an d the to w n " lik e a s e n s it iv e p la n t . . . r e f u s e d to sp rea d " (M i s s i s s i p p i , p . 2 5 6 ). O xford h a s b e e n d e s c r ib e d as s 14 j'p le a sa n t, t r e e - s h a d e d and p e a c e f u l," b u t it a ls o h a s b e e n t e r m e d " sta tic a n d p r e o c c u p ie d " (M i s s i s s i p p i ). T h e f ir s t s e t o f a d j e c tiv e s is , a p p a r e n tly , m o s t fr e q u e n tly a s u r f a c e im p r e s s io n o f th e to u r is t. W ard ; L . M in e r in h is book , T h e W o rld of W illia m F a u lk n e r , h a s n o ted h is I s e c o n d , d e e p e r im p r e s s io n of O x fo rd a s o n e of j u lt r a - r e s p e c t a b le an d g e n t e e l . . . d e c a y . T h is d e c a y in c lu d e s th e j v e r y la n d it s e lf , g a s h e d by th e g u llie s o f c o n tin u a l e r o s io n . T h ou gh j th e g u llie s a r e n o t a s d eep a s th e y w e r e in the 1 9 2 0 's and m a n y a r e j c o v e r e d o v e r w ith K udzu v in e , th e y a r e s t i l l v e r y m u c h t h e r e . L ik e j th e la n d , th e p e o p le in th e c o m m u n ity h a v e b e e n g u llie d b y a s p ir it u a l d e c a y , th ou gh c o v e r e d o v e r w ith a v e n e e r of r e s p e c t a b ilit y , (p. 19) ! T h rou gh it s tr a g ic fla w of s la v e r y , th e a n te -b e llu m S ou th w a s f a t e d j fr o m th e b e g in n in g , a n d O xford w a s a p a r t of th at S o u th . C u r se d w ith j i it s le g a c y o f m o r a l g u ilt, d e r id e d b y a N o r th th at n e v e r knew th e in s t i- i Itution o f s la v e r y or i t s s o r r y a fte r m a th , y e t s t ill f a c e d w ith th e r e a l j s o c ia l a n d e c o n o m ic p r o b le m s o f its N e g r o e s and p o o r w h ites; d e fe a te d j in w a r , i t s c o m m e r c e ir r e v o c a b ly m a r r e d , it s le a d e r s str ip p e d of w e a lth an d p o w e r , w a tc h in g a w a y of lif e c r u m b le - - it co u ld n o t c o n c e iv a b ly tu r n to th e fu tu r e w ith h o p e and fa ith in p r o g r e s s . T h u s, r e m e m b e r in g f a r - o f f th in g s and b a t tle s lo n g a g o , O x fo r d 's p e o p le s e e m to; m o v e in a w o r ld c h a r a c t e r iz e d n e ith e r b y a r e a lity o f th e p r e s e n t n or j an a c tu a lity of the p a s t - - b u t r a th e r in s u s p e n d e d an d f u t u r e le s s t im e . j I j T h e m o s t fr e q u e n t m is ta k e n im p r e s s io n one g e t s of W illia m j . . 15 . [F a u lk n e r 's fa m o u s a n c e s t o r , C o lo n e l W illia m C u th b ert F a lk n e r , is j ^ C a n t w e ll, " T h e F a u lk n e r s . . ." p . 306. * ^ U su a lly w r it t e n C o lo n e l " W illia m C. F a lk n e r ." G. T . B u ck ley,! ; j th a t he w a s a ty p ic a l so u th e r n a r is t o c r a t .^ B io g r a p h e r s d iffe r as to j ' l w h e r e C o lo n e l F a lk n e r w a s b orn , but it is d e fin ite th at h e w a s not a n a - j 17 t iv e of M is s is s ip p i. M in er n o te s th at the C o lo n el w a s of W elsh d e - j s c e n t, and w a s b orn in K nox C ounty, T e n n e s s e e , on Ju ly 6, 1826, a l- j \ ‘ i th ou gh th e y e a r is p o s s ib ly e r r o n e o u s s in c e th e m a n 's m on u m en t g iv e s j 18 1 8 2 5 as th e date of h is b irth . The fa m ily m o v ed to M is s o u r i sh o r tly i j a l t e r the b o y 's b irth , and th e r e h e sp e n t h is boyh ood in th e old F r e n c h | ! : I j C a th o lic to w n of S ain t G e n e v ie v e . The r e a l m o tiv a tio n fo r the b o y 's i "Is O xford th e O rig in a l of J e ffe r s o n in W illia m F a u lk n e r 's N o v e ls? " ; P M Li A , 7 6 , N o. 4, P t. 1:449, S ep tem b er 1961, r e f e r s to h im a s "C olonel! iW illiam C h r is ty F a lk n e r ." In the F a lk n e r fa m ily , he is know n as the j " o ld C o lo n el," thus b e in g d iffe r e n tia te d fr o m h is son , J. W. T. F a lk n e r , j w h o in h e r ite d the h o n o ra r y tit le of C o lo n e l. j ^ T h i s fa ls e a ssu m p tio n is c o n s is te n t w ith M a lco lm C o w ley 's in tr o d u c to r y c o m m e n t in The P o r ta b le F a u lk n er (N ew Y ork, 1946), p . 4, to th e e ffe c t that m a n y b io g r a p h ic a l f a c ts about W illia m F a u lk n e r 's lif e |{and the lif e of h is g r e a t-g r a n d fa th e r ) " a re fu ll of p r e p o s te r o u s e r r o r s.' :One of the w o r s t of t h e s e e r r o r s is found in Irv in g H ow e, W illia m F a u lk n er: A C r itic a l Study (N ew Y ork, 1952), p. 9, w ho w r it e s , "hi the v ic in it y of O xford, th e tow n w h e r e th e fa m ily liv e d , C o lo n el W illia m jF alkner, th e n o v e lis t 's g r e a t-g r a n d fa th e r , b e c a m e so m eth in g of a le g - j en d a r y h e r o , h is n a m e su r v iv in g him b y s e v e r a l d e c a d e s," s u g g e stin g j th a t the o ld C o lo n e l's h o m e w a s in o r v e r y c lo s e to O xford. T his e r r o r ! i s noted b y B u ck ley , p . 447, w ho p o in ts out o th e r s by H ow e, in clu d in g h is sta te m e n t that th e C o lo n el c o n s tr u c te d h is fa m o u s r a ilr o a d fr o m 'O xford to M em p h is, and th at h e n am ed th e sta tio n s a fter S ir W a lter j S c o tt's c h a r a c t e r s , both of w h ich a r e n ot tr u e . C an tw ell, "The F a u lk n e r s . . ." n o te s s e v e r a l e r r o r s in a b a s ic r e fe r e n c e , M is s is s ip p i, th e | |m o st p r o m in en t of w h ic h is th e old C o lo n e l's d ate of d eath , w h ich o c c u r r e d n o t in 1899, b u t on N o v em b er 5, 1889. O ther e r r o r s and in c o n - ! s is te n c ie s c o n c e r n in g th e o ld C o lo n el w ill be p o in ted out la te r . ^ C a n tw e ll, "The F a u lk n e r s . . ." p. 312. j ! i i 1 q j i M in er, p . 57, g iv e s 1826 a s th e y e a r of b irth . C a n tw e ll's "Jh-| itrod u ction ," C ol. W illia m C. F a lk n e r , T he W h ite-R o se of M em p h is (Newj ;York, 1953 e d .), p. v iii, a ls o l i s t s 1826"! F o llo w in g the date on the J F a lk n e r g r a v e s to n e in R ip le y , O 'C onnor, W illia m F a u lk n er , p. 4, g iv e s j th e y e a r o f b irth a s 1825, h o w e v e r , a s d o e s B u ck ley , n. 15, p. 449. Fori a p ic tu r e of the m o n u m en t, s e e C oughlan, P t. 1, p. 136. j le a v in g M is s o u r i h a s ten d ed to be o b sc u r e d b y tim e and le g en d , but one I p r e v a ilin g s to r y is th a t, at th e age of fo u r te e n , h e en g a g ed in a b lo o d y I h o e fig h t w ith a yo u n g er b r o th er and w a s s o th o ro u g h ly p u n ish ed b y h is X 9 i fa th e r th a t h e ra n aw ay fr o m h o m e. It is u n c e r ta in how old th e b oy j w a s at th is tim e , or w h e th e r he c a m e d ir e c t ly to M is s is s ip p i fr o m I M is s o u r i or b y w a y of T e n n e ss e e ; but it is c le a r th at he did w a lk to j R ip le y , on ly to fin d th at h is u n c le , a s c h o o lte a c h e r n am ed W illia m ; i T h om p son , w a s in j a il a few m ile s d ista n t at P o n to to c , ch a rg ed w ith j m u r d e r . The s t o r ie s of th e fa tig u e e n c o u n ter e d d u rin g th is tr ip and h is j c o n seq u e n t d is c o u r a g e m e n t upon a r r iv in g v a r y in p ic tu r e sq u e d e ta il. j ! One is th a t h e sa t dow n and c r ie d , v o w in g he w o u ld so m e d a y c o n s tr u c t ai j r a ilr o a d o v e r the v e r y ro u te of h is ard u o u s jo u rn ey (M is s is s ip p i, pp. j 4 5 7 -4 5 8 ). A n oth er s p e c if ie s the p la c e w h ere h e r e s te d as the s te p s of j ; a ta v e r n , but fe tc h in g ly adds th at a lit t le g ir l, E liz a b e th V an ce, d e s - | i ■ I tin e d to be h is sec o n d w ife , upon s e e in g h im in h is w r e tc h e d co n d itio n , j w en t h o m e to g et h im a g la s s of w a te r , te llin g h e r m o th er about the " little old tra m p b oy." The V an ce fa m ily , so th e s to r y c o n tin u e s, took h im in and saw th at h e cau gh t the sta g e c o a c h to P o n to to c the n ex t j 20 m o r n in g . H is u n cle w a s a cq u itted of the m u rd er ch a rg e and to o k th e \ 19 * C oughlan, P t. 1, p. 127. M in er d iffe r s a s to the r e a s o n s fo r h is d e p a r tu r e , m a in ta in in g that th e fa th e r d ied and th e fa m ily a s a j w h o le r e tu r n e d to T e n n e s s e e , fr o m w h e r e , at th e a g e of s e v e n te e n , th e young m a n w en t to R ip le y (p. 57, it a lic s add ed ). M is s is s ip p i b e a r s the jsta tem en t th at he "w as a b a r e fo o t b oy of te n w ho had w alk ed th e s e v e r a l h u n d red m ile s fro m M id d leto n , T en n." (p. 4 5 7 ). A c tu a lly , R ip le y , M is - I Isis sip p i, is on ly tw e n ty -tw o m ile s fr o m M id d leton . i 20 i i C oughlan, P t. 1. C a n tw ell, " In trod u ction ," p. ix , s a y s th a t "he! ja rriv ed in R ip le y at du sk , and found h is u n cle iri ja il, ch a rg ed w ith Im urder. He sa t down on th e c o u r th o u se s te p s ..." but adds th a t "The i llegen d d o e s not e x a c t ly sq u a re w ith th e fa c ts . . . ." P h il S ton e, b oy to R ip ley; and fr o m th at tim e u n til h is death at s ix ty -fo u r , W. C. F a lk n e r 's p erm a n en t h o m e w a s R ip le y . He n e v e r liv e d in O xford. j i E m p lo y ed by the s h e r iff, youn g F a lk n e r w o rk ed fo r s e v e r a l 21 y e a r s in the ja il at R ip le y , w h ile a ls o a tten d in g s c h o o l. He a ls o h elp ec h is u n c le --w h o in the m e a n w h ile had b e c o m e a la w y e r - - b y w o rk in g in \ ; ' | h is o ffic e , rea d in g law , and p e r fo r m in g v a r io u s c le r ic a l ta s k s {C ough- j i i la n , P t. 1). A fter the M ex ic a n W ar b egan , F a lk n er w a s e le c t e d f ir s t i \ , | lie u ten a n t of h is lo c a l com p an y. He w a s w ounded on A p r il 14, 1847, s e -j i r io u s ly enough th at he r e c e iv e d a p e n sio n fr o m th e g o v e rn m e n t u n til the: 22 i o u tb rea k of the C iv il W ar. B ack in R ip le y once a g a in , he b eg a n the ] , _ i p r a c tic e of la w w ith h is u n c le , and w a s m a r r ie d to H ollan d P e a r c e , a | ! | g ir l fr o m K n o x v ille, T e n n e s s e e . T h ey had but one so n , John W e sle y ! ; T h o m p so n F a lk n e r , b e fo r e sh e d ied . He la t e r m a r r ie d E liz a b e th V ance j ^'W illiam F a u lk n er, the M an and H is W ork," O xford M a g a z in e , V ol. 1, N o. 2 (June 1, 1934), p. 13, s p e c if ie s th at the b o y 's u n cle "had b een te a c h in g sc h o o l at P len titu d e [ s i c ] in P o n to to c C ounty . . ." and th at th e b oy "w alked on to P o n to to c and d is h e a r te n e d and fo o ts o r e sa t dow n on the s te p s of A n d e r so n 's ta v e r n ," th at th e lit t le g ir l sa w h im th e r e , " re - i p o r te d h im to th e la n d lo rd ," and th at the la n d lo rd "took h im in , fe d h im j and se n t h im b a ck to R ip ley " (it a lic s ad d ed ). j j 1 ^ C a n t w e ll, "The F a u lk n e r s . . ." p. 301. 22 | C a n tw ell, " In trod u ction ," pp. ix - x i i. | ^ C o u g h la n , P t. 1, pp. 3 1 2 -3 1 3 , h o w e v e r , is v e r y lik e ly in e r r o r jconcern ing th e se q u e n c e of e v e n ts d u rin g th is p e r io d of th e o ld C olo- h e l's lif e , s u g g e stin g th a t h e m a r r ie d H ollan d P e a r c e , that th e y had a so n , and th at sh e d ied b e fo r e th e M ex ic a n W ar, a fte r w h ich he retu rn ed land, a s a lo c a l h e r o , le d a "grand b all" w ith E liz a b e th V a n ce, a v is itin g jbelle w ith w hom he " fe ll in lo v e ," the sa m e lit tle g ir l w ho h ad b e fr ie n d e d h im so lo n g ago th at d u sk y e v en in g w h en h e a r r iv e d in R ip ley . jC antw ell, " In trod u ction ," p . x iv , g iv e s th e sec o n d w ife 's n am e a s Eliza-S beth V an ce H ouston , and m e n tio n s th at sh e w a s b o rn in A la b a m a in |l 834. „ j The s e r io u s tr o u b le th at w a s to m a r k h im fo r th e r e s t of h is life i I j^egan on M ay 8, 1849, w h en R o b ert H indm an, one of tw o b r o th e r s w ho j i . ] w e r e h is c o m r a d e s d u rin g th e M ex ica n W ar, a tta ck ed h im w ith a gun j w h ich fa ile d to f ir e . D efen d in g h im s e lf, F a lk n e r k ille d the m a n w ith a I k n ife. A lth ou gh it tu rn ed out th at the w h o le a ffa ir w a s th e r e s u lt of a i : f 2 4 * m isu n d e r sta n d in g , it w a s to o la te to r e c tif y th e d a m a g e. A n a d d itio n a l ir o n y of th e a ffa ir w a s th at th e v ic tim 's b r o th e r , T h om as H indm an, p r o s e c u te d th e c a s e b e fo r e h is f ir s t ju ry . P le a d in g s e lf - d e f e n s e , F a lk n er w a s a cq u itted , but im m e d ia te ly a fte r th e tr ia l T h om as H in dm an a s - j sa u lte d h im , and in th e a lte r c a tio n one of H in d m an 's co m p a n io n s, a j fr ie n d n a m ed M o r r is , w a s k ille d as F a lk n e r d efen d ed h im s e lf. He w a s j ■ i a c q u itte d on ce m o r e , but the c o n flic t w en t on in a str a n g e and m y s t e r i ous fa sh io n . D u rin g the w h o le b lo o d y e p is o d e , at le a s t tw o m e n w e r e k ille d and fo u r m u r d e r s w e r e a ttem p ted . A fte r th e sec o n d t r ia l, H ind- j ! ! m a n a lm o s t k ille d F a lk n e r a g a in . A d u el w a s a rra n g ed , but a w itn e s s j m a n a g ed to p r e v e n t it, a fte r w h ic h H indm an le f t M is s is s ip p i and w en t to; 7 R ' A r k a n sa s. | B y th e tim e th e C iv il W ar b rok e out, F a lk n er had a lr e a d y m ad e la fo rtu n e of $ 5 0 ,0 0 0 . He o r g a n iz e d a lo c a l com p an y and w a s e le c te d | C o lo n el of th e S eco n d M is s is s ip p i R e g im e n t. A lth ough he " saw s e r v - 1 26 ’ * |ice" at H a r p e rs F e r r y , h is f ir s t b a ttle a c tio n took p la c e at B u ll Run, j ; 1 I i 2 4 i | C a n tw ell, "The F a u lk n e r s . . ." p. 313. j ! ^ C a n t w e ll, "The F a u lk n er s . . ." pp. 3 1 2 -3 1 4 . H ere is th e e x - j jplanation fo r the e r r o r in M is s is s ip p i, w h ic h m a in ta in s that T h om as I iH indm an "w as k ille d in a duel" w ith th e C o lo n e l. I 2 A i ! G reen , p. 299- O 'C onnor, The T a n g led F ir e of W illia m F a lk - j jn er (M in n ea p o lis, 1954), p . 5, is ta k en to ta s k b y B u ck ley , p. 4 4 9 , fo r c lo s e to M a n a s s a s , V ir g in ia , on J u ly 2 1 , 1 8 6 1 . H is r e g im e n t w a s a t ta c h e d to th e co m m a n d of G e n e r a l J o se p h E . J o h n sto n , w h o had s u p e r - i s e d e d T h o m a s J. (S to n ew a ll) J a c k s o n a p p r o x im a te ly tw o m o n th s b e - 27 fo r e . C o lo n e l F a lk n e r w a s r e p la c e d in c o m m a n d b y C o lo n e l Joh n W. S tone in A p r il, 186 2 , a s the r e s u lt o f a tr o o p e le c tio n . O u traged b y th e j idem otion and r e f u s in g to s e r v e in su ch a situ a tio n , F a lk n e r g a llo p e d j a w a y to M is s is s ip p i, w h e r e h e fo r m e d th e S ev en th C a v a lr y , a ban d of ir r e g u la r s a tta c h e d to G e n e ra l F o r r e s t . A g a in a C o lo n e l, h e b e c a m e a ! : I 2ft h e r o of the C iv il W ar by d efen d in g R ip le y . j : . . . j | j D u rin g th e R e c o n str u c tio n p e r io d , h is v ig o r did n ot w a n e , but g r ew in a l e s s v io le n t and m o r e c o n s tr u c tiv e w a y , a t l e a s t u n til th e end o f h is c a r e e r . He b e c a m e a c tiv e in p o lit ic s and b e g a n to r e a liz e the | i d a y d rea m th a t he had spun as a tir e d , s o r e - f o o t e d " little old tr a m p boy'j i jso m an y y e a r s b e fo r e . He o r g a n iz e d h is r a ilr o a d and o r ig in a lly g a v e it th e n am e o f th e R ip le y , Ship Isla n d S t K en tu ck y (M i s s is s ip p i). It w a s be gun in 1869 and c o m p le te d in 1 8 7 2 , r e a c h in g o v e r th e d is ta n c e of a p - j ; i p r o x im a te ly tw e n ty -tw o m ile s fr o m R ip le y to M id d leto n , T e n n e s s e e - - ! 29 th e tw o p o in ts b e tw e e n w h ich th e b oy h ad w a lk e d . L a ter it w a s n a m ed s u g g e stin g th at th e r e w a s a b a ttle fou gh t a t H a r p e r s F e r r y . ^ S e e B u c k le y , n. 12, p . 4 4 9 . j ^® M iner, p . 57. M is s is s ip p i, p. 4 5 8 . S ton e, V ol. 1, N o. 2, p. 13, g iv e s as a r e a s o n fo r th e r e p la c e m e n t a c o m m e n t a ttr ib u te d to W illia m jFaulkner h im s e lf: "the m e n of th e S eco n d M is s is s ip p i R e g im e n t d id not r e lis h the h a r d d is c ip lin e w h ic h h is g r e a t-g r a n d fa th e r m e te d out to th em and d e p o s e d h im . ..." T he band of ir r e g u la r s w h ic h C o lo n e l j F a lk n e r o r g a n iz e d w a s in it ia lly know n a s th e F i r s t M is s is s ip p i P a r t i s a n R a n g e r s, but la te r b e c a m e th e S ev en th M is s is s ip p i C a v a lr y . I I ^ B u c k le y , n. 19, p. 4 5 0 . the G ulf 8t C h icago and ex ten d ed th ro u g h N ew A lb an y and P o n to to c. O r ig in a lly begun a s a n a r r o w -g a u g e lin e , it w a s c o n v e r te d in 1905 to j i I j I sta n d a rd gau ge, b e c o m in g p a r t of th e G ulf, M o b ile, and N orth ern ; and ini 3 0 1940 it w a s a b so r b e d by th e Gulf, M o b ile , and O hio. | C o lo n el F a lk n e r did th e f ir s t w r itin g fo r w h ich h e r e c e iv e d p a y j a s a you n g m an w h ile he w a s w o rk in g in the R ip le y ja il. He h e lp e d ca p -i tu re a m u r d e r e r by the n a m e of M cC annon, w ho w a s c o n v ic te d of m u r - I ! ! I I clering an e n tir e e m ig r a n t fa m ily . F a lk n e r w ith sto o d a m ob ly n ch in g p a rty , p r o te c tin g M cC annon, and a fte r the t r ia l m a n a g ed to w r ite a j | s to r y of th e c r im in a l's lif e . He p u b lish e d it on c r e d it, and th e day of M cC an n on 's e x e c u tio n so ld 2,5 0 0 c o p ie s , fr o m w h ich he c le a r e d j 31 ! $ 1 ,2 5 0 . H is g r e a t e s t lit e r a r y s u c c e s s , h o w e v e r , w a s The W hite R o se | of M e m p h is, o r ig in a lly p u b lish e d a s a s e r ia l in the R ip le y A d v e r t is e r , j its f ir s t in s ta llm e n t a p p ea rin g in A u g u st, 1880, th en in book fo r m in j | ! 1881. B e fo r e its th ir ty -fifth e d itio n in 1909, th e book had so ld 1 6 0 ,0 0 0 ! 3 2 c o p ie s . A c o lo r fu l, r o m a n tic, and a c tio n -p a c k e d n o v e l, to tw e n tie th - c en tu r y t a s t e s it s e e m s n e v e r t h e le s s c o n tr iv e d and a r tific ia l. j ^^M is s is s ip p i. F o r so m e d e ta ile d s t a t is t ic s c o n c er n in g the C o lo n e l's r a ilr o a d , s e e B u ck ley , n. 19, p. 450. 31 C an tw ell, " In trod u ction," pp. v , ix; a ls o "The F a u lk n e r s . . ." | p. 312. j ! ! ; ^ G r e e n , p. 299. H ow e, p. 9, g iv e s 1882 as th e date of the j b o o k 's p u b lic a tio n and m e n tio n s th at w ith in th e n ex t th ir ty y e a r s it w entj th rou gh th ir t y -fiv e e d itio n s and so ld o v e r 1 5 0 ,0 0 0 c o p ie s . C oughlan, j jpt. 1, p . 128, c o n tr a d ic ts H o w e's d a te, w r itin g th at th e C o lo n el " p ro- j ! duced" th e book in 1880. T he C atalog of B o o k s R e p r e se n te d by L ib r a r y ; iof C o n g r e ss P r in te d C ard s (1943), V ol. 46, p . 380, g iv e s 1881 a s the j jdate of p u b lic a tio n . A ll fo llo w in g r e f e r e n c e s to the te x t a r e found in thej r e v . ed . p u b lish e d by C o ley T a y lo r (N ew Y ork, 1953), in tro d . R o b ert jC antw ell. P a g e r e f e r e n c e s a r e in d ic a te d in p a r e n th e s e s a fter qu ota tio n s . A M is s is s ip p i R iv e r s te a m e r , fr o m w h ich the n a m e of the n o v e l is ta k en , is fitte d out a s an e x c u r s io n boat and m a k e s its m a id en v o y a g e fr o m M em p h is to N ew O r le a n s. W ith c h a r a c te r s tak ing th e r o le s of su c h p e r s o n a g e s a s In gom ar (taken fr o m th e th en -p o p u la r co m ed y , In g o m a r, the B a rb a ria n , b y F r ie d r ic h H alm , f i r s t p ro d u ced in 1842 in V ienna); M a ry , Q ueen of S co ts; H en ry of N a v a rre; N apoleon; Ivanhoe; and D on Q u ix o te --a "grand m a sq u er a d e ball" is g iv e n the la s t ev en in g j ] | of A p r il, the b egin n in g of a s e r ie s of su ch lig h th e a r te d e n te r ta in m e n ts ' to be con tin u ed ea ch e v en in g of th e round tr ip . Caught up in th e s p ir it of r e v e lr y and in s p ir e d by th e str ik in g b ea u ty of the Q u een of S c o ts, the j m a s q u e r s d e c id e to r e ta in th e ir d is g u is e s . T h ey e le c t M a ry th e ir . q u een and a g r e e upon a cod e w h ich w ill fu r n ish th em w ith " in n ocen t sp o rt" d u rin g th e v o y a g e . The e n te r ta in m en t b e g in s w ith In g o m a r1 s | n a r r a tiv e , w h ic h b e c o m e s th e n o v e l's m a jo r p lo t, and is in t e r s p e r s e d j ! j w ith a m y s te r io u s su b -p lo t ab oa rd sh ip , r e lie v e d b y fr e q u e n t d an cin g, j [ d in in g , and p ro m en a d in g upon d eck . i ' I In g o m a r, the p r o ta g o n ist, c o n tr o ls th e su b -p lo t, n e v e r g iv in g j an yon e e ls e a ch an ce to t e ll a s to r y , fo r h is is not co n clu d ed u n til the i n o v e l is n e a r ly fin ish e d . It c o v e r s the ch ild h o o d a d v e n tu r es of th r e e orp h an s: E d w ard D em a r, a g ed th irteen ; H a rry W a llin g fo rd , tw elv e; and H a r r y 's s is t e r , L o ttie , w ho is te n . E d w a rd 's tr o u b le s b eg in w h en h is m o th er d ie s and h is fa th er tu rn s a lc o h o lic . He e n jo y s a b r ie f r e s - j j i p ite fro m th e b u ffets of fa te w h ile in th e c a r e of h is b e lo v e d ste p m o th er; ibut sh e too p a s s e s aw ay, le a v in g h im a lo n e w ith h is lit t le ste p b r o th e r ;and s t e p s is t e r . A fter s e llin g a ll th e ir m e a g e r p o s s e s s io n s to p r o v id e i th e d e c e a s e d w ith "the f in e s t r o se w o o d co ffin ," the th r e e s o m e s ta r t th eir tw o -h u n d r e d -m ile jo u rn ey fr o m N a sh v ille to M em p h is on fo o t, j : i w h ere th e y hope to m e e t an u n c le w ho w ill fu r n ish th em w ith a h o m e. ! j \ On the w a y so m e fa n ta stic a d v e n tu r es o c c u r , in clu d in g th e se : E dw ard' sj savin g of L o ttie 's lif e by su c k in g the p o is o n fr o m a r a ttle sn a k e b ite, but; n e a r ly dyin g h im s e lf in the p r o c e s s ; th e ir e n co u n ter w ith a ju v e n ile gang, le d by one B en B o w le s, and a n a r r o w ly a v o id ed tr a v e s ty of ju s tice; and H a r r y 's h e r o is m in sa v in g V io la B r a m le tt's life by ju m p in g ; from th e fro n t of an en gin e to p u sh h e r out of the c o w c a tc h e r 's sw ath. The boy is b ad ly h u rt in the in c r e d ib le m a n e u v e r , but c a lm ly ig n o r e s the e n tr e a tie s of th e old e n g in e e r : "M y b rave lit t le h e r o ," he e x c la im e d a s he p r e s s e d H a r r y 's brow to h is lip s , "are yo u hurt?" "N ot m u ch , s ir , I b e lie v e , though m y le g is b rok en ," s a id H a rry . (P- 70) I L ittle V io la 's fa th e r , o v e rw h elm ed w ith g r a titu d e , e v e n tu a lly p r o v id e s for the su p p o rt and ed u ca tio n of the W a llin g fo r d s, w h ile E d w ard is ta k en in by a fr ie n d ly old d r u g g is t-p h y s ic ia n . H a r r y g ro w s up to be a la w y er,; w h ile L o ttie r e c e iv e s a la d y 's ed u ca tio n in B a rd s T ow n (s i c ), K entucky, j w h ere sh e c a r r ie s off a ll s c h o o l h o n o r s. E d w ard p r e p a r e s h im s e lf fo r m e d ic a l sch o o l; but b e fo r e he g o e s aw ay to P h ila d e lp h ia to stu d y, he d e c la r e s h is lo v e to L o ttie , n e w ly r etu r n e d to M em p h is as a r e fin e d and d e v a s ta tin g ly b e a u tifu l young la d y . D e sp ite E d w a rd 's s e lf-d o u b t, th e r e ; | | is n e v e r any q u estio n that th e tw o h ave b e e n in lo v e sin c e th e ir c h ild - ; I hood, and, not s u r p r isin g ly , th e sa m e r o m a n tic situ a tio n e m e r g e s ber I t ! ! tw een H a r r y and V io la . j ! i T h e se e v e n ts s e t th e to n e fo r the r o m a n tic n o v e l as tr a g e d y e n - > t e r s . V io la 's lit t le b ro th er is p o iso n e d and sh e is b la m ed fo r the act. 1 ! !Lottie sta n d s by h e r fr ie n d th rou gh ou t the d iffic u lty e v e n th ou gh the b o y s a r e te m p o r a r ily sw a y e d fr o m lo y a lty by c ir c u m s ta n tia l e v id e n c e p r o v id e d by so m e D ic k e n sia n d e t e c t iv e s . One d iffic u lty is p ile d upon ] : • i a n o th er, h e a r s a y upon h e a r s a y , m isu n d e r sta n d in g upon m isu n d e r sta n d - j in g, u n til H a rry e v e n tu a lly c h a lle n g e s E d w ard , h is b e s t fr ie n d , to a dueL The fic tio n a l c ir c u m s t a n c e s of the d u el s u g g e st, up to a p o in t, the T h om as H in dm an e p iso d e in C o lo n el F a lk n e r 's lif e , fo r th e tw o m e n had! on ce b e e n str o n g fr ie n d s; and the G en era l C a llo w a y of th e n o v el, "a j i m an w h o se o p in io n s w e r e r e s p e c te d by the co m m u n ity " (p. 289), i s i c lo s e en ou gh to th e a ctu a l w it n e s s , w ho w a s C o lo n el G allow ay, e d ito r of: 33 I the M em p h is A p p e a l. E d w ard is s p ir ite d a w ay as a r e s u lt of m is ta k e n id e n tity . E v en tu a lly , h o w e v e r , the m y s te r y is so lv e d , but not u n til th e j ; i su b -p lo t d e v e lo p s and d e ep en s a b o a rd The W hite R o se ; fin a lly , N a p o leo n is e x p o s e d a s non e oth er th an the e s c a p e d and d is s o lu te c u lp r it, B en i B o w le s . S om e of th e b o o k 's fe a tu r e s w h ich m a r k its g e n r e c le a r ly as j | th at of th e m e lo d r a m a tic , d o m e s tic -s e n tim e n t a l n o v e l of the n in eteen th i I 1 ! cen tu ry a r e its e x c e s s iv e ly k n ig h tly and a ll to o g r a m m a tic a l d ia lo g u e; ! the e x tr a o r d in a r y p e r fe c tio n of th e h e r o and h e r o in e ; L o ttie 's th r e e n e a r - e s c a p e s fr o m death; E d w a rd 's fiv e -d a y c o m a and bout w ith b r a in ; fe v e r ; H a r r y 's p e r p e tu a l p a llo r , h is h y s t e r ic a l p r id e , h is fig h t to the i death w ith B en B o w les in th e M is s is s ip p i R iv e r , and h is n ea r d ea th j | fr o m an e n su in g wound; M rs. R a g la n d 's c o n fe s s io n and su ic id e ; D r. j D o d so n 's s e n tim e n ta l, d id a c tic d ea th sce n e ; and the r e s o lu tio n o f the ] I i m u r d e r m y s te r y and u ltim a te p o e tic ju s tic e fo r a ll. C o lo n el F a lk n e r 's ; i ■ ^ C an tw ell, "The F a u lk n e r s . . ." p. 314. p ro p s in clu d ed e v e n th e fa ith fu l d og, old B ob, and c h a r a c te r s w ith su ch ob viou s n a m es a s F r a z z le b r a in , C o lo n el C on fed and G en era l C a m p h o l- j lo w e r , D r. D e ed id d le , Judge F la x b a ck , and M iss C la tterm o u th . j One g a th e r s fr o m in te r n a l e v id e n c e th at th e B ib le , w h ic h is f r e - ; q u en tly a llu d ed to and q u oted, is C o lo n el F a lk n e r 's m a jo r lit e r a r y in flu e n c e in The W hite R o s e . A sid e fro m it, oth er in flu e n c e s upon h is s ty le and co n ten t s e e m to f a ll in to th re e c a te g o r ie s : (1) th e g e n e r a l I : i c la s s ic s ; (2) th e R o m a n tics; and (3) the A m e r ic a n h u m o r is t s .^ i ! The b ook h a s b e e n g e n e r a lly ig n o r e d or rou n d ly co n d em n ed a s an in c r e d ib le r o m a n c e of the m o o n lig h t-a n d -m a g n o lia s s c h o o l, and, ! i m o r e r e c e n tly , to o e x c e s s iv e ly p r a is e d as "a w o n d erfu l n o v e l," alth ou gh I the a u th o r 's " ex ecu tio n f e ll fa r sh o r t of th e gran d d e s ig n of th e j 34 F o r d e ta ils of th e s e th r e e c a te g o r ie s of in flu e n c e s s e e th e fo llo w in g r e f e r e n c e s : (1) S h a k e sp e a r e 's " w ond erfu l c r e a tio n s of b eauty" (p. 141), I s p e c if ic a lly J u liu s C a e sa r (pp. 2 0 -2 2 , 99), H a m let (pp. 22, 341, 358), i R ich a rd III (p. 519), R om eo and J u lie t (pp. 25, 109), The M erch a n t of [V enice (L o ttie 's d e fe n se of V io la , pp. 4 5 1 -4 8 1 , 358), A s Y ou L ike It, jC ym beline (p. 358), and M uch A d o A bout N othing (p. 342); H o m e r 's Illia d (pp. 19, 152; qu oted, p. 153); the p ic a r e s q u e D on Q uixote (p. 342, ; r e f e r r e d to th rou gh D u lcin a d e l T o b o so , p. 406); M ilto n 's P a r a d is e Lost; ((com m en ted on c r it ic a lly , p . 358); P o p e 's E s s a y on M an (q uoted, p . 147);} jSwift's G u lliv e r 's T r a v e ls (p. 19), and D e fo e 's R o b in so n C r u so e (p. 21); j (2) B yron , h is " V isio n o f Judgm ent" (p. 438), M azep p a, a s e v - i e n te e n th -c e n tu r y C o ss a c k p o e tic a lly c e le b r a te d , and oth er g e n e r a l a l lu s io n s (pp. Ill, 147); S co tt, e v id e n t in the g e n e r a l co n ten t o f the n o v e l, iof c o u r s e , and m o r e p a r tic u la r ly in the m a sq u e r a d e r Ivan h oe, r e f e r e n c e s to H ea rt of M id lo th ia n (p. 22), B rid e of L a m m e r m o o r , T a lis m a n , jand " a ll th e o th er th r illin g n o v e ls w r itte n b y S ir W a lter S cott" (p. 342); IThom as M oore (" L a lla R ookh," p. 322, and h is " se n tim e n t," p. 358); jBurns (p. 358); and su ch d o m e s tic se n tim e n ta l p r o d u ctio n s a s H en rietta j T e m p le , A lo n zo and M e lis s a , F o u l P la y , and L ittle D o r r it (p. 21); (3) M a rk T w ain (F a lk n e r 's c h a r a c te r J e m im a T a d p o d d le's [g o ssip in g d ia lo g u e on th e w itn e s s stand, fe a tu r in g an e n d e m ic p a to is iuniquely p u n ctu a ted w ith the p h r a s e s " sa y s I," and "La, b le s s y o u r jsoull" [p. 4 4 9 ], p u ts one in m in d of T w a in 's M rs. H o tc h k iss of H u c k le - ! jb erry F in n , a la d y w ho w a s a ls o a n o to r io u s lo c a l g o s s ip ), T w a in 's In- j jnocents A b ro a d (p. 346); and, fin a lly , su c h w r ite r s a s " B ill Arp" and 35 ! w ork ." T he v a lu e of th e n o v el, it s e e m s to m e , is not so m u ch as a i w o rk of a rt, but ra th e r a s a lit e r a r y c u r io . It n ot on ly d e p ic ts e x tr a v a gan tly an e r a of g r a c e and c h iv a lr y w h ich th e South on ce d elu d ed it s e lf in to b e lie v in g a c tu a lly e x is t e d , but a ls o is a kin d of fa n ta stic m a s q u e r ade of the o ld C o lo n el h im s e lf - - g r o t e s q u e , e x a g g e r a te d , d ren ch ed in t e a r s , but s t ill id e n tifia b le . The orp h a n sta tu s of E d w ard D em a r su g - j g e s t s an a u to b io g r a p h ica l lin k a g e w ith C o lo n el F a lk n e r , and L o ttie W al-| i j lin g fo r d 's t im e ly a p p ea ra n ce c e r ta in ly r e c a lls E liz a b e th V an ce and the j " little old tra m p boy" e p iso d e u p on h is a r r iv a l in R ip le y w h en he w a s j | fo u rtee n . In th is p o r tio n of the n o v e l, E d w ard and L o ttie c o n v e r s e as j fo llo w s: | "W ill y o u e v e r th in k of th e b o y is h tra m p w ho lo n g ag o c la im e d you as h is lit t le w ife , a fter I am gone?" " Y es, E dw ard, I n e v e r s h a ll fo r g e t th e h a lc y o n d a y s of old, fo r alth ough w e w e r e p o o r , h o m e le s s w a n d e r e r s , w e w e r e n ot unhappy." | {p. 107, it a lic s added) j A s in c r e d ib le a s the book i s , th e unique q u a lity of th e a u th o r's im a g in a tio n , h is v ita lity , in te n sity , and in c ip ie n t a b ility to in te r w e a v e j ! i w a r rin g p lo t e le m e n ts a r e a ll e v id e n t. P e r h a p s in so m e in d ir e c t, if not| d ir e c t w a y s, one m a y be p e r m itte d to s e e th e b o o k 's in flu e n c e upon the i ' 'author's g r e a t-g r a n d s o n . S t y lis t ic a lly , C o lo n e l F a lk n er s e e m s to su g - | g e st h is d e sc e n d a n t's d e v ic e s w ith th e str a n g e m ix tu r e of h u m or and Igrief r e v e a le d in E d w a rd D e m a r 's m o n o lo g u e s as th e d u el s c e n e iA rtem us W ard (p. 342). ■ o r j C on d em n ed by G reen , p. 299- P r a is e d by C a n tw ell, "Intro- 1 d u c tio n ," pp. x x v i- x x v ii. H o w ev er, C a n tw ell o ften q u a lifie s h is p r a is e : j "only a m a s te r cou ld h a v e c o m p le te ly s u c c e e d e d w ith th e ex tra o rd in a ry ! p r o b le m p r e s e n te d by th e m a t e r ia l of C o lo n el F a lk n e r 's n o v e l, but no m a s te r w o u ld h a v e tr ie d it." ! d e v e lo p s, h is s u r r e a lis t ic d r e a m s s te m m in g fro m fe a r , te n s io n and j co n fu sio n , and the a r r e s t s c e n e w ith its m y s te r io u s ly con fou nd in g su b - jsequent a c tio n during w h ic h E d w ard is co n d u cted fro m p la c e to p la c e u n til he s e e m s to be s e c r e t e d fr o m a ll fa m ilia r lif e , a d r ift in h e lp le s s a n g e r , and q u ite m ad (pp. 2 9 7 -3 0 3 ). The a c c u r a te r e c o r d in g of N e g ro i d ia lo g u e (pp. 3 0 0 -3 0 1 ) and the u se of p o ly s y lla b ic n a m e s, so m e of th em ■ 1 t y it h C h ick a sa w o v e r to n e s, s e e m to a n ticip a te F a u lk n e r 's d e v ic e s . But | ! | the d riv in g in te n s ity of th e s tr o n g e s t s c e n e s cu lm in a tin g m L o ttie ’s r e - j | tu rn fr o m th e th r e sh o ld of d eath s e e m to e c h o th at fa te fu l h o r r o r , hau ntin g o u tra g e , and p e r v e r s e ly m a c a b r e a b su r d ity w h ich c h a r a c te r iz e ! su c h e le m e n ts of F a u lk n e r 's w o rk a s N an cy's fe a r in "T hat E v en in g j ! Sun," the c o n v ic t's m a d d en in g e ffo r ts to fr e e h im s e lf fr o m the b u rd en I o f th e p r e g n a n t w om an in The Old M an, and J a so n C o m p so n 's ch a in o f | fr u s tr a tio n s in The Sound and the F u r y . W illia m F a u lk n er, h o w e v e r , sa id th a t The W hite R o se of M e m - j p h is w a s s h e e r e s c a p is m - - " T h e m e n a ll b ra v e and the w o m en a ll pure."| A t th e sa m e tim e , he ad d ed so m e in te r e s tin g o b se r v a tio n s of h is g r e a t-: g ra n d fa th er, p o in tin g out th at he had w r itte n The W hite R o se s im p ly be-; c a u se he w a n ted to e x c e l a ll o th e r s in a lit e r a r y e ffo r t, and th at h e nev-' e r r e a lly d e s ir e d to r e p e a t h is p e r fo r m a n c e . He fu rth e r r e la te d th a t : |he thought S ir W alter S c o tt w a s th e C o lo n e l's m a jo r in s p ir a tio n and that! i ' : : | I f i ^ C a n tw e ll, "T he F a u lk n er s . . ." p p . 3 0 4 -3 0 5 . A c tu a lly th e j iC olonel d id w r ite tw o le n g th y p o e m s, The S ieg e of M o n te r ey (C in cin natij 11851), and T he S p an ish H ero in e ([n.p.J, 1851), the la tte r d e a lin g w ith the' iB attle of B u en a V ista ; h e a ls o w ro te tw o o th er b o o k s, T he L ittle B r ic k j I C hurch (P h ila d elp h ia , 1882), in ten d ed a s an a n sw er to U n cle T om ' s j j C abin, and R apid R a m b lin g s in E u rope (P h ila d elp h ia , 1884), in s p ir e d byj ja E u ro p ea n tr ip in th e su m m e r of 1883. j i ! he had h o n o red th at R o m a n tic w r ite r by n a m in g h is r a ilr o a d sta tio n s a fter th e m a n 's c h a r a c te r s: "T he p e o p le c o u ld c a ll the to w n s w h a te v e r j 3 7 th ey w an ted , but, by God, h e w ou ld n am e th e d ep ots." M is s is s ip p i: A G uide to the M a g n o lia State n o tes th e v io le n t tieath of the old C o lo n el w ith th e fo llo w in g sta tem en t: ; i it is a fa m ily le g e n d th at w h en he m a d e a b itter e n e m y o f h is o ld I fr ie n d and r a ilr o a d a s s o c ia t e C ol. R. J. T hurm ond, b y d e fe a tin g h im fo r th e S tate L e g isla tu r e in [1889]i h e r e f u s e d to a rm h im s e lf, s a y ing th at h e a lr e a d y h ad k ille d too m a n y m e n and did n o t w ant to k ill any m o r e . On the d ay of F a lk n e r 's [ f ir s t ] e le c tio n to th e le g is la t u r e T hurm ond sh o t h im dead on th e m a in s t r e e t of Ripley.^® ! C o n cern in g the e p iso d e , W illia m F a u lk n er c o n s is te n tly s ta te d , j ! I don 't b e lie v e T hurm on d w a s a co w a rd . But the old m a n p ro b a b ly ; d ro v e h im to d e s p e r a t io n -- in s u lte d h im , sp rea d s t o r ie s about h im , la u g h ed at h im . B e s id e s , h e had k ille d tw o or th ree m e n . And I su p p o s e w h en y o u 'v e k ille d m e n so m e th in g hap pens in s id e y o u - - s o m e - th in g h ap p en s to you r c h a r a c te r . He s a id he w as t ir e d of k illin g peo-. p ie . And he w a sn 't a r m e d th e day T h u rm on d shot h im , alth ou gh h e j a lw a y s c a r r ie d a p istol.^ ^ \ i It is ob v io u s th at th e o ld C o lo n el d iffe r e d from th e ty p ic a l so u th - j e r n p la n te r s . He w a s not an a r is t o c r a t, and although he b e c a m e a j I j plan ter,^ * h e a ls o p o s s e s s e d th e in te llig e n c e and fle x ib ilit y to e x p lo r e I C a n tw ell, "The F a u lk n e r s . . p . 305. L ike H ow e, F a u lk n er | h im s e lf w a s p ro b a b ly in e r r o r c o n c er n in g th e old C o lo n e l's n am in g th e j sta tio n s a fte r S c o tt's c h a r a c te r s; at le a s t , n o such n a m e s a r e e v id e n t to d a y . M is s is s ip p i, pp. 4 5 9 -4 6 0 , m e n tio n s Ingom ar, so u th of N ew A l- j ban y on S tate H igh w ay 15, r ig h t 1.3 m il e s on a g r a v el r o a d , w h ich w a s * j" esta b lish ed by C o lo n el F a lk n e r as a sto p on h is C h icago fk Gulf R .R . and n am ed by h im fo r a c h a r a c te r in h is n o v e l The W hite R o se of M e m p h is " ( it a lic s added). S ee a ls o B u c k le y 's n. 5, p. 447, fo r fu rth er r e m a r k s c o n c er n in g th is le g e n d . j - Q i j ®P. 4 5 8 . A ls o s e e C an tw ell, "T he F a u lk n ers . . ." pp. 31 4 -3 1 5 .j 1 j i ^ C a n tw e ll, "The F a u lk n er s . . ." p . 305. ! j ^ C a n t w e ll, " In trodu ction ," p. v i. B y the tim e h e w a s fif t y - f iv e ,; jC olonel F a lk n e r ow ned a 1 ,2 0 0 -a c r e p la n ta tio n ou tsid e R ip le y , had a j jhundred te n a n ts, a g r is t m ill, saw m ill, c o tto n m ill, and m a n a g ed a 1 Z 5, . p th er c o m m e r c ia l fie ld s w ith e x tr a o r d in a r y v ig o r and o r ig in a lit y . He n e v e r c o m p le te ly a c c e p te d th e so u th e r n co d e of h is n e ig h b o r s , but he n e v e r c o m p le te ly r e j e c te d it e ith e r . In th is c o n n e c tio n it is in t e r e s t in g to c o n tr a s t th e h y s t e r ic a l H a r r y W a llin g fo r d and h is im p r a c tic a l p r id e w ith th e m o r e r a tio n a l, th ou gh y e t id e a lis t ic , E d w a rd D e m a r. T he C olor n e l's g e n tle m a n ly a s s o c ia t e s w e r e to o o ften e s p r it s s i m p l i s t e s , w h o I o v e r - s im p lif ie d the c o m p le x it ie s of h u m an l if e , its s o c ia l r e la t io n s h ip s , | w a r s , p o lit ic s , e c o n o m ic s , and e d u c a tio n a l and r e lig io u s in s titu tio n s . He w a s n e v e r c o m p r e h e n d e d b y h is c o n te m p o r a r ie s , w h o tr ie d to m u r - I d e r h im . H is p r a c t ic a l a c h ie v e m e n ts , o v e r sh a d o w e d a s th ey h a v e b e e n J ! b y h is d a sh in g and b lo o d y e x p lo it s , in d ic a te n o t s o m u ch an a r is t o c r a t h o p e le s s ly w a tc h in g h is p o w e r and w e a lth r e c e d e w ith th e R e c o n s tr u c tio n , but r a th e r the n ew m a n of e n te r p r is in g v is io n , w h o tr ie d to b rin g an e n lig h te n e d c o m m e r c e to a w a y of lif e w h ic h w a s to o r ig id to a c c e p t j it. He r e m a in e d a p a ra d o x : cau gh t up by and sh a r in g in th e c u r r e n t of j a tim e w h ic h e x a g g e r a te d it s p a s s io n s and e x is t e d by an o u tm od ed c h iv -| : j a lr ic c o d e , h e w a s s t ill a b o ld p a tte r n of p r o g r e s s fo r a h o p e le s s ly a n a c h r o n is tic a g e . F a u lk n e r 's ow n a ttitu d e to w a r d h is g r e a t -g r a n d - i i fa th e r w a s a str a n g e b len d of th e r e a li s t i c and r o m a n tic : ! P e o p le at R ip le y ta lk of h im a s if h e w e r e s t ill a liv e , up in the : h ills s o m e p la c e , and m ig h t c o m e in at a n y tim e . It's a str a n g e thing; th e r e a r e lo t s o f p e o p le w h o knew h im w e ll, and y e t n o tw o of j th em r e m e m b e r h im a lik e or d e s c r ib e h im th e s a m e w a y . One w ill j s a y h e w a s lik e m e and a n o th er w ill sw e a r h e w a s s ix fe e t t a ll . . . j T h e r e 's n oth in g le f t in th e old p la c e , th e h o u se is g o n e and th e p la n - j ta tio n b o u n d a r ie s, n o th in g le ft of h is w o r k but a s ta tu e . B ut h e ro d e j th ro u g h th a t co u n try lik e a liv in g f o r c e . I lik e it b e tte r th at w a y . d o z e n s m a ll f a r m s - - a l l in a d d itio n to h is la w p r a c tic e and r a ilr o a d . j j ^ C a n t w e ll, "The F a u lk n e r s . . ." p. 305. W illia m F a u lk n e r 's g ra n d fa th er w a s John W e sle y T h o m p so n j i F a lk n e r , the on ly c h ild of H ollan d P e a r c e , th e o ld C o lo n e l's f ir s t w ife , j ; j G ran d fath er John in h e r ite d h is fa th e r 's t it le , but th e to w n sp eo p le r e - j fe r r e d to h im a s the "young C o lo n el," th u s d istin g u ish in g h im fr o m h is i i i fa m o u s fa th e r. A lth ou gh not th e c o lo r fu l fig u r e of the o ld C o lo n el, he j i did a c h ie v e d is tin c tio n as an A s s is t a n t U nited S ta tes A tto rn ey , a la w y e r \ b an k er, and p o litic ia n . He at f ir s t im p r o v e d the o ld C o lo n e l's r a ilr o a d , i | but fin a lly c a m e upon h a rd t im e s . He e v e n tu a lly lo s t c o n tr o l of th e F ir s t N ation al B ank "to a sh r ew d b a c k -c o u n tr y fin a n c ie r n a m ed J o e j P a r k s ." The s to r y is th a t h e im m e d ia te ly w ith d rew h is m o n ey and d e p o s ite d it in a c o m p e tito r 's bank, h a v in g ju st c a r r ie d it a c r o s s the tow n sq u a re in a w a te rb u c k e t. A h e a v y d r in k e r , h e m a d e annual tr ip s to a j K e e le y In stitu te, h a v in g h is fa ith fu l N e g ro se r v a n t, N ed, d r iv e h im th e r e 42 ! in a fin e c a r r ia g e . L ik e h is fa th er b e fo r e h im , h e w a s in t e r e s t e d in p o litic s and did not h e s ita te to c h a lle n g e th e vagu e p r in c ip le s of a r is t o - j c r a tic is o la tio n and r ig id ity w h ich c h a r a c te r iz e d oth er o n c e -p r o sp e r o u sj p la n te r f a m ilie s . T h u s, he su p p o rted p o litic a lly th e r is e of the '-'red- \ n e c k s ," th e b e tte r sid e of w h ic h w a s fa v o r in g g r e a te r su ffr a g e fo r te n - i : ■ant f a r m e r s . The young C o lo n el e s ta b lis h e d a la w fir m w ith L ee M . j R u s s e ll and liv e d to s e e h is a s s o c ia t e b e c o m e lie u te n a n t g o v ern o r of M is s is s ip p i during B ilb o 's f i r s t te r m , 1 9 1 6 -1 9 2 0 , and g o v ern o r fr o m j ! i i A7 j C oughlan, P t. 1, pp. 130, 134. P h il Ston e, " W illiam F a u lk n er , th e M an and H is W ork," O xford M a g a z in e , V ol. 1, No. 2 (June 1, 1934), j jpp. 1 4 -1 5 , g iv e s fu rth e r d e ta ile d in fo r m a tio n c o n c er n in g J. W. T. F a lk -| n e r 's le g a l and p o litic a l c a r e e r . T he youn g C o lo n el m o v e d to O xford in! the la te 1 8 8 0 's w h ere he w a s A s s is t a n t U n ited S ta tes A tto r n e y fo r the N o rth ern D is tr ic t of M is s is s ip p i u n d er Judge C h a rles B. H ow ery. j i ! 43 ' 1 9 2 0 -1 9 2 4 . One of th e b e s t fir s t-h a n d d e s c r ip tio n s of J. W. T . F a lk - j 1 , i n e r h a s b een g iv en by John B. C u llen , w h o r e c a lls h a v in g s e e n and m e t j h im s e v e r a l tim e s upon the s t r e e t s of O xford: I He c a r r ie d a ca n e, and he w o u ld tap it a lo n g as he w a lk ed . H is w a lk w a s p e c u lia r , ju s t lik e W illia m 's . T he on ly o th er p e o p le I have known to w a lk lik e th at w e r e w a lk in g in th e ir s le e p . It is n o t a slo w ; w alk , but a kind of m in cin g ste p , an odd g a it th at I cannot d e s c r ib e , j . . . L ike h is g r a n d so n W illia m , he w o u ld p a s s p e o p le by and not e v en n o tic e th em .44 ; i ;The young C o lo n el is a ls o r e m e m b e r e d a s "a m a n of s tiff d ig n ity , d eaf, , 4-5 i and w ith a te s ty , e x p lo s iv e te m p e r ." He d ied in 1922 and l i e s b u ried in St. P e t e r 's C e m e te r y in O xford. j The young C o lo n el and h is w ife , S a llie M u rry , had th r e e c h il- ! dren : H ollan d, a g ir l c a lle d "A ntee" (p ron ou n ced A unt T); John W e sle y j T h o m p so n F a lk n e r II, a la w y e r know n in O xford a s "Judge F alk n er" ; and M u rry F a lk n e r , th e o ld e st c h ild and W illia m 's fa th e r . M u rry a t- ■ ten d ed th e U n iv e r sity of M is s is s ip p i but n e v e r c o m p le te d w o r k fo r a d e g r e e . A fte r q u ittin g c o lle g e h e w o rk ed e r r a t ic a lly at a n u m b er of M in er, p. 60. To m a k e th e p a r a d o x c o m p le te fo r th o se w ho s t ill a s s o c ia te F a u lk n e r 's a n c e s to r s e x c lu s iv e ly w ith th e p la n te r a r i s to c r a c y and its r ig id cod e of h o n o r, M in er c o m m e n ts th at th e tu rn of th e c en tu ry saw "the r is e to e c o n o m ic and p o litic a l p o w e r of th e r e d n e c k s and of the S n o p e se s" (p. 89). A g a in , "M odern fig u r e s in a ctu a l j M is s is s ip p i life w ho c o r r e sp o n d to th e S n o p e se s a r e V ard am an , B ilb o , j jand R ankin . . . w ho e x p lo it the new p r im a r y v o te of the r e d -n e c k s . . . . j jThe L a m a r s and T h o m p so n s a r e r e p la c e d by B ilb o s and R ankins; the j |C om psons and S a r to r is e s a r e r e p la c e d b y S n o p e se s" (p. 100). j | | ^ P p . 4 - 5 . C u llen , a L a fa y e tte C ounty fa r m e r , w a s a p r o fe s - I ision al c e m e n t fin is h e r by th e tim e h e w a s s ix te e n y e a r s old . H aving j jknown th e F a lk n er fa m ily s in c e h is ch ild h o o d , h e p r o v id e d a g r e a t m a n y p e r s o n a l e x p e r ie n c e s fo r Old T im e s in th e F a u lk n er C ou n try, w r itte n Jin c o lla b o r a tio n w ith F lo y d C. W atk ins. | 45 q ( C onnor, W illia m F a u lk n er, p. 5. ; j jo b s but, c o m p a red w ith h is fo r e b e a r s , w a s a s u c c e s s in n o n e. E v e n t u - ! : J a lly he b eca m e a r a ilr o a d co n d u cto r, a u d ito r, and depot a g en t at N ew \ ' I I A lb an y, M is s is s ip p i, the tow n w h e r e W illia m w a s b o rn in 1897. The j c ir c u m s ta n c e s u n d er w h ich th e fa m ily le ft N ew A lban y a r e a s s o c ia te d w ith the a ctio n of r e c k le s s c o u ra g e and c h iv a lr y s tr a n g e ly r e m in is c e n t j of th e old C o lo n el. A s th e fa m ily s to r y g o e s, th e p r o p r ie to r of a N ew A lb an y drug s to r e n a m ed W alker in s u lte d M u r ry 's s is t e r . M eetin g j | | W alker on the s t r e e t , M u rry sla p p ed h is fa c e and to ld h im th a t he wouldj p u n ish h im th at e v e n in g . C o o lly e n te r in g the d ru g s to r e and f ir s t e n - i d e a v o r in g to m a k e a p u r c h a se fr o m th e c le r k , M u rry tu rn ed to s e e W alk er p o in tin g a p is to l at h im . T he d r u g g ist fir e d and th e b u lle t str u c k M u rry in th e m ou th, a w ound s im ila r to th at in flic te d on the o ld ; l C o lo n el by T hurm on d. M u rry d ro p p ed to th e flo o r , w h e r e W alker th en | d is c h a r g e d both b a r r e ls of a sh otgu n in to h is b ack . The you n g C o lo n el, h e a r in g of the o u tra g e , la te r cau gh t W alk er in a n o th er s to r e and at p o in t-b la n k ra n g e e m p tie d a p is to l at h im , but th e sh o ts m is fir e d , m u ch | a s had R ob ert H in d m a n 's b e fo r e th e old C o lo n el m a n a g ed to sta b h im to d eath . W alker th en b ro k e aw ay and sh o t M u r ry 's fa th e r . In cred ib le as at m a y s e e m , no one w a s k ille d . It w a s at th is p o in t th at M u rry F a lk - ; n e r 's w ife , the fo r m e r M aud B u tle r , d e c id e d fo r the w e lfa r e of e v e r y one c o n c er n e d to m o v e th e fa m ily to O x fo r d .^ i i W illia m F a u lk n e r 's fa th er is f ir s t r e m e m b e r e d by C u llen as i h a v in g o p e r a te d a g r o c e r y s to r e w ith h is b r o th er John. T h ey w e r e j | | la te r in a d ra y in g b u s in e s s , a fte r w h ic h M u rry w a s p r o p r ie to r of the 4A C oughlan, P t. 1, pp. 1 3 3 -1 3 4 . 'old o p e r a h o u s e w h e n v a u d e v ille w a s p e r f o r m e d t h e r e . H e t h e n o p e r - i a te d a h a r d w a r e s t o r e , a n d C u lle n r e c o l l e c t s th a t "he w a s v e r y le n ie n t I ( I ! a n d w o u ld g iv e m e p le n t y o f t im e to p a y ," and th a t h e w a s " e f f ic ie n t , j i c o n s id e r a t e a n d p r o m p t" in d e a lin g w it h o t h e r s . F in a lly h e b e c a m e C o m p tr o lle r o f th e U n iv e r s it y of M i s s i s s i p p i , a p o s it io n h e h e ld u n til , . . 4 7 h xs r e t ir e m e n t . T he a u t h o r 's m o t h e r , w h o d ie d in I9 6 0 , e a r n e d a l o c a l r e p u ta - ■ ; i i t io n f o r h e r p a in tin g , an d it i s g e n e r a ll y b e lie v e d b y th o s e w h o k n ew herj w e l l th a t m u c h of W illia m 's t a le n t c a m e fr o m " M is s M aud" a n d h e r m o t h e r , L e l ia D e a n S w ift, w h o w a s a n a m a te u r s c u l p t r e s s - - a s w e ll a s 4 8 f r o m th e F a lk n e r s id e o f th e f a m ily . j T h e r e w e r e fo u r c h ild r e n b o r n to M u r r y a n d M aud F a lk n e r : W illia m , M u r r y , Joh n , a n d D ea n . N e x t to th a t o f W illia m , J o h n 's r e p u ta t io n i s th e m o s t n o ta b le . H e h a s w r it t e n M en W o r k in g , D o lla r C o tto n , 47 C u lle n , p . 5. C o u g h la n , P t . 1, p. 1 3 4 , s t a t e s th a t h e w a s a p - : p o in te d s e c r e t a r y and b u s in e s s m a n a g e r o f O le M is s in 1 9 1 8 , a p o s it io n j h e ld th e r e s t o f h is l i f e . A lth o u g h h e d o e s n o t m e n t io n th e g r o c e r y j s t o r e b u s i n e s s , h e d o e s g iv e a c l e a r e r id e a of t h e d a te s d u r in g w h ic h W illia m 's f a t h e r h e ld h is v a r io u s j o b s , w h ic h o n e m a y in f e r a s f o llo w s : ’ l i v e r y b u s in e s s a n d s t a b le , 1 9 0 2 -1 9 1 2 ; h a r d w a r e b u s in e s s , 1 9 1 2 -1 9 1 8 ; j 's e c r e t a r y an d b u s in e s s m a n a g e r a t th e U n iv e r s it y o f M i s s i s s i p p i , 1 9 1 8 ; u n til h is d e a th . B u t P h il S to n e , O x fo r d M a g a z in e , V o l. 1, N o . 3 (1 9 3 4 ), I p . 4 , d i s a g r e e s w ith C o u g h la n on th e te n u r e o f th e u n iv e r s it y p o s it io n , ! w r it in g th a t M r . F a lk n e r w a s " S e c r e t a r y and B u s in e s s M a n a g e r . . . u n -j t i l o n ly a fe w y e a r s b e f o r e h is d e a th ," th a t h e "l a t e r r e t i r e d an d b u ilt I h im a h o m e o n S ou th L a m a r St. in O x fo r d on la n d th a t h a d b e e n a p a r t o f th e h o m e s t e a d o f h is f a t h e r ," th a t h e d ie d in h i s h o m e o n ly "a fe w i iy e a r s a g o ," a n d th a t W illia m 's m o t h e r s t i l l l i v e s t h e r e ." S to n e a ls o j p o in t s o u t th a t M u r r y 's h a r d w a r e b u s i n e s s w a s lo c a t e d " in th e b u ild in g j h o w o c c u p ie d b y th e L . F . P a tto n H a r d w a r e C o m p a n y at th e N o r t h w e s t j p o r n e r o f th e C o u r th o u se sq u a r e " ( i t a l i c s a d d ed ). | ^ ® C u llen , p . 5. S to n e , V o l. 1, N o . 3, p . 4 , m a in ta in s th a t W il- jLiam 's g r a n d m o th e r " w a s r e p u te d b y t h o s e w h o k n ew h e r to h a v e p a in t - j in g t a le n t o f th e f i r s t o r d e r ," and th a t " S om e o f th e o ld e r c i t i z e n s of O x fo r d a ttr ib u te to t h is m a t e r n a l g r a n d m o th e r w h a te v e r a r t i s t i c t a le n t I a n d C h o o k y . K now n a s " J o h n s ie ," h e h a s m a d e th e s p e llin g o f th e f a m ily 4 9 /• ' n a m e c o n s is t e n t w ith W illia m 's . H e h a s b e e n a c i t y e n g in e e r , d r a f t s m a n , f a r m e r , a ir p la n e p ilo t , a n d o p e r a to r o f a c h ic k e n b r o ile r b u s in e s s ^ H e h a s a l s o p a in te d a n d e x h ib ite d h is p i c t u r e s . C u lle n h a s c o m m e n t e d j f a v o r a b ly o n h is " r u s t ic s c e n e s ," b u t h a s a l s o m a d e th e ju d g m e n t th a t J o h n 's a b u n d a n c e o f t a le n t s h a s p r e v e n t e d h im f r o m c o n c e n t r a t in g on a n y on e o f th e m lo n g e n o u g h to a c h ie v e th e s u c c e s s w h ic h h is o ld e r b r o t h e r d id (C u lle n , p . 6 ). T h e o th e r liv in g b r o th e r , M u r r y C ., w o r k s i w it h th e F e d e r a l B u r e a u of I n v e s t ig a t io n in N ew O r le a n s , an d i s k n o w n i b y th e n ic k n a m e " J a c k ." D ea n , th e y o u n g e s t b r o t h e r , w a s k i l l e d in 1 9 3 5 ! i d u r in g a b a r n s t o r m in g to u r , in a n a ir p la n e w h ic h w a s o w n ed b y W illia m j (C o u g h la n , P t . 1). j | O ne o f th e m o s t r e v e a lin g in s ig h t s g iv e n in to th e F a u lk n e r s of | to d a y h a s b e e n r e c o r d e d b y C u lle n . A s if h e w e r e s p e a k in g o f th e S a r - j i ; ' ' i t o r i s f a m ily in F a u lk n e r 's f ic t io n , h e c a l l s th e m " r e c k l e s s ," a n d s a y s th a t th e y li k e " t h r ills an d d a n g e r s ." S u ch a r e m a r k i s n ot s u r p r is in g to; ; I a n y o n e w h o h a s th e f a c t s at h a n d and c a n t r a c e th e m fr o m th e o ld C o lo - ; n e l to th e l a s t y e a r s a n d w e e k s o f W illia m F a u lk n e r 's l i f e . A s r e c e n t ly a s th e s u m m e r of 1 9 5 9 . h e b r o k e a c o lla r b o n e w h ile fo x - h u n tin g in V ir - ; g i n i a .^ A fe w w e e k s b e fo r e h is d e a th , h e w a s th r o w n fr o m h i s h o r s e W illia m F a u lk n e r m a y p o s s e s s . " j i “ ^ I n s o f a r a s h is p e n n a m e is c o n c e r n e d . C o u g h la n , P t . 1, p . 124. j i C u lle n , p . 7 . E llio t t C h a z e , " V is it to T w o - F in g e r T y p is t," iL ife, J u ly 1 4 , 1 9 6 1 , p . 11, s t a t e d th a t F a u lk n e r w a s c o n tin u in g h is p o s i - ; jtion a s r e s i d e n t w r it e r a t th e U n iv e r s it y o f V ir g in ia d u rin g th e s u m m e r ; land f a ll o f h is in t e r v ie w , an d h a d h is ow n h o m e in C h a r lo t t e s v ille . jT h ere h e e n jo y e d h is d a u g h te r an d h e r f a m ily , w h o r e s id e in C h a r l o t t e s v i l l e , an d , no d o u b t, h is g r a n d s o n , P a u l S u m m e r s , th e n f o u r t e e n a g a in . On th e m o r n in g of J u ly 3, 19 6 2 , not q u ite th r e e fu ll d ays b e fo r e | h is d ea th , h is o ld fr ie n d M r. "M ack" R eed n o ted th a t h e w a s s t ill w e a r - j in g h is b a ck b r a c e d " T w en ty y e a r s a g o ," C u lle n r e m e m b e r s , " J o h n sie F a lk n e r w a s ta lk in g w ith m e about g o in g in to g e th e r and b u yin g a c o tto n - d u stin g p lan e" ; and he s u m m a r iz e s h is im p r e s s io n of th e fa m ily in j th e s e w o r d s: " T h ey a r e h o n o r a b le , r e c k le s s , q u iet, and kind" (C u llen ). O th er O x o n ia n s --a s th e to w n sp e o p le r e f e r to t h e m s e l v e s - - a r e j m o r e c r it ic a l of th e F a lk n e r s , d e s c r ib in g th em a s " c u r io u s," " a lo o f," ! " c o o l," or " p la in stu c k -u p ." T he d ay a fte r F a u lk n e r 's d ea th a M em phis! j r e p o r te r n oted , tin d er th e c a p tio n " S to ried O xford U n ru ffled A t 'C u riou s! B ill's ' P a s s in g ," th a t th e n a tiv e s of O xford " le t h im go h is own (to th em 52 • f p e c u lia r ) w a y a s h e le t th e m go t h e ir s ." B ut th e s te r e o ty p e d im p r e s s io n s of F a u lk n e r 's q u iet, in tr o v e r te d m a n n er h a v e p r o b a b ly b e e n o v e r d on e. A t th e m e n tio n of th is r e p u ta tio n fo r s h y n e s s , P h il S to n e 's b la c k | i j e y e b r o w s r a is e and h e s a y s , la u g h in g w ith g o o d -n a tu r e d o v e r s ta te m e n t, ! ''B ill n e v e r had an y h u m ility about h im at a ll." Stone r e f e r s to th e • 1 i i F a lk n e r s 1 a n c ie n t r e p u ta tio n fo r in d e p e n d e n c e , h e a d s tr o n g n e s s , and g a ll, th en q u o te s A le x a n d e r P o p e ab ou t fo o ls r u sh in g in w h e r e a n g e ls m o n th s old. F a u lk n er to ld C h aze th a t h e w a s fo n d of fo x -h u n tin g , lo v e d ! h o r s e s and d o g s; and e v e r y m o r n in g a r o s e at s ix o 'c lo c k , d ro v e out to j h is s t a b le s , and ro d e fo r at le a s t an h o u r b e fo r e a s h o w e r , b r e a k fa s t, j and w o r k . " T h e r e is so m e th in g about ju m p in g a h o r s e o v e r a fe n c e ," ! F a u lk n e r s a id , " so m e th in g th a t m a k e s yo u f e e l good . P e r h a p s it ' s th e j r is k , th e g a m b le . In any e v e n t it 's a th in g I n e e d ." j i | | ■ ’^W. M . R eed , "M r. M ack r e m e m b e r s 'B ill,'" T he O xford j E a g le , J u ly 12, 196 2 , S e c . 1, p. 7. M r. R eed s ta t e s th a t F a u lk n er v i s - | ite d h is d ru g s to r e " a p p r o x im a te ly 120 tim e s a y e a r fo r n e a r ly fo u r jdecades" (p. 1). ! ^ P a u l F lo w e r s , T he C o m m e r c ia l A p p ea l (M em p h is, T e n n e s s e e ); |ju ly 7, 1962, p. 1. f e a r to tr e a d , and n e a tly p a r a p h r a s e s , "The F a lk n e r s ru sh in w h ere fo o ls fe a r to tread " (In terv iew N o, 1). \ C H A PTER II BOYHOOD: LOOM INGS | I L ife m o v e s at a slo w p a c e in O xford. T he tow n la c k s th e g r o w - j j in g n ew in d u str y ty p ic a l of m o r e p r o g r e s s iv e so u th er n c o m m u n itie s ; i ! j j ! e v e n to d a y it r e m a in s s u b s ta n tia lly a s m a ll a g r ic u ltu r a l c e n te r . E xcep t! fo r th e c o s m o p o lita n in flu e n c e of th e u n iv e r s ity , O xford s t i l l h a s a ll the | a ttr ib u te s of a p r o v in c ia l co u n ty s e a t in an is o la t e d r u r a l a r e a . B ut if | O x fo rd 's gro w th s in c e th e R e c o n s tr u c tio n h a s b e e n so m e th in g l e s s th a n p r o g r e s s iv e , th e tow n h a s s t i l l r e ta in e d m u ch of it s tr a d itio n a l c h a r a c t e r . T he b e a u tie s of p r im itiv e n a tu r e lie ju st a w a lk a w a y . It is a q u iet, v e n e r a b le N a tu re th a t h a s fo r g e n e r a tio n s e n d e a r e d it s e lf to th e p e o p le of L a fa y e tte C ounty. F o r th e o u tla n d er, th e p e o p le 's n a tu r a l r e t ic e n c e m a y s e e m s tr a n g e ly k in d r ed to the ro u g h , m u te d b ea u ty o f th is la n d , about w h ic h P h il Stone h a s w ritte n : su n lig h t s p ills d im ly th ro u g h th e t r e e s and th e r e is no co m p a n y but the b ir d s . T h e r e a r e s o ft c a r p e te d p in e h il ls w h ite w ith d ogw ood in j the s p r in g . T h e r e a r e r o w s on s e r r ie d r o w s o f fa r h i l l s , b lu e and j p u rp le and la v a n d e r [ s i c ] and lila c in the su n , h ills u p on w h ich y o u ca n lo o k day a fte r d ay and y e a r a fte r y e a r and n e v e r fin d lig h t and sh ad ow and c o lo r e x a c t ly th e s a m e ) j "In th is c o u n try ," W illia m F a u lk n er o n c e sa id , "I w a s b o rn in 2 * 1826 o f a n e g r o s la v e and an a llig a to r ." T he sta te m e n t, w ith a ll it s i * " W illia m F a u lk n e r , th e M an and H is W ork" O xford M a g a z in e , ! V ol. 1, N o. 3 (1 9 3 4 ), p. 9. j > 2 A rth u r W ig fa ll G r ee n , " W illia m F a u lk n er at H o m e," S ew a n ee :....... 34- a p p ea r a n c e of a t a ll ta le , h a s a fa c tu a l r e le v a n c e w h ic h m a y p o in t to a n - | j p e s tr a l id en tity : th e date s u g g e s t s th e b ir th of th e o ld C o lo n e l r a th e r j ! 3 th an th a t of h is g r e a t -g r a n d s o n . W illia m F a u lk n er w a s b o rn ju s t so u th of R ip le y , in N ew A lb a n y , at a tim e w h en th e F a lk n e r a n c e s t r a l h o m e j ; t w a s s t ill in R ip le y , and th e in flu e n c e o f th e o ld C o lo n e l's le g e n d a r y rep-! t I u ta tio n up on the to w n , a s w e ll a s upon th e im p r e s s io n a b le b o y , w a s s t ill! p ro fo u n d . B o rn o n ly e ig h t y e a r s a fte r th e old m a n 's v io le n t d ea th , F a u lk n er th e boy k n ew fir s th a n d the a ttitu d e of th e p e o p le of n e a r b y R ip le y to w a r d h im and h is fa m ily . He la t e r sp o k e of it in th e s e w o r d s: | I The f e e lin g in R ip le y did n o t d ie out w ith C o lo n e l F a lk n e r 's d ea th and T h u rm o n d 's le a v in g . I c a n r e m e m b e r m y s e lf , w h en I w a s a b o y in j R ip le y , th e r e w e r e so m e p e o p le w h o w o u ld p a s s on th e o th er s id e of j th e s t r e e t to a v o id s p e a k in g --th a t s o r t of th in g . | W hen the fa m ily m o v e d to O xford in 1902, W illia m 's fa th e r w e n t in to th e liv e r y s ta b le b u s in e s s . The f i r s t h o m e of the F a lk n e r s w a s l o c a te d on V an B u ren A v en u e, a fin e o ld h o u se c o m p le te w ith sta in e d j g la s s w in d o w s, g ia n t oak t r e e s , and a s p a c io u s la w n . S h o rtly a ft e r - ; I w a rd , th e fa m ily m o v e d to a h o m e on S ou th L a m a r ju s t a c r o s s the s t r e e t fr o m W illia m 's g r a n d fa th e r , J. W . T. F a lk n e r , th e o ld C o lo n e l's 5 so n . A t th is tim e you n g " B illy " a p p a r e n tly h ad a p on y, fo r he la te r (R eview , 4 0 :2 9 8 , S u m m er 1 9 3 2 . F a u lk n er a ls o m a d e th is s ta te m e n t in ■the c o n te x t of a " s m a r t-c r a c k " to M a r s h a ll J. S m ith in " F a u lk n er of M is s is s ip p i," B o o k m a n , 7 4 :4 1 2 , D e c e m b e r 1931. S e e th is d is s e r t a t io n , Ch. I, n. 18. | ^ R o b ert C a n tw e ll, " T h e F a u lk n e r s: R e c o lle c tio n s of a G ifted F a m ily ,” N ew W o rld W ritin g (N ew Y ork , 1 9 5 2 ), p. 305. ; j I ^ R ob ert C ou gh lan , " T h e P r iv a te W orld of W illia m F a u lk n e r ," jLife, P t. 1 (S ep te m b e r 28, 1 9 5 3 ), p. 1 3 3 . John B. C u llen , O ld T im e s in j (F aulkn er C ou n try (C h ap el H ill, 19 6 1 ), p . 3, p o in ts out th at th e fa m ily j jlived on a s t r e e t n ow c a lle d South L a m a r but th en know n s im p ly a s r e m a r k e d th a t the a n im a l w a s h is e a r li e s t r e c o lle c t io n at th e age of th r e e , and th a t he r e m e m b e r e d w a itin g a n x io u sly fo r the sa d d le to be i L m a d e by a m a n n a m ed M r. C h eek . John C ullen r e m e m b e r s how he I u s e d to p a s s dow n th e b ro a d sh ad y s t r e e t by the F a lk n e r h o m e on h is j ! i w a y to and fr o m s c h o o l. The F a lk n e r c h ild r e n o w n ed a " sp o tted pony and a lm o s t e v e r y kin d of to y and gun th a t c h ild re n co u ld h a v e in th o se j d a y s." In a d d itio n to th e F a lk n e r b r o th e r s , th e ir c o u s in S a llie M u rry j ! i W ilk in s, w h om the F a lk n e r s r e a r e d , and E s t e lle O ldham , th e fu tu re j 1 b r id e of W illia m , w e r e often p a r t of th e group. T h e y p la y ed in the i i 7 i s t r e e t , fo r th e r e w a s lit t le d an g er fr o m tr a ffic at th e tim e . In C u llen 1 sj w o r d s, the F a lk n e r c h ild r e n " w ere fr ie n d ly and p le a s a n t e v e n tow ard j m e , a c o u n try ja k e. E v er y o n e lik e d th em " {C u llen , p . 3). W illia m 's ! | im other c o n s is te n tly r e p o r te d th at h e r so n "was fu ll of life and pep and J 8 p la y e d w ith th e b o y s on h is s t r e e t in a p e r fe c tly n o r m a l w a y ." I Young B illy d rew p ic tu r e s of m a c h in e s , b u ilt m e c h a n ic a l to y s , I i and did s o m e e x p e r im e n ts in c h e m is tr y and fla s h p h o to g ra p h y w h ich r e su lte d in h is b r o th er J o h n 's te m p o r a r y lo s s of b o th e y e b r o w s. He and Joh n a ls o e x p e r im e n te d w ith p a in t, and, ju st to s e e w hat w ou ld happen, South S tr e e t. > ^ C an tw ell, "T he F a u lk n e r s . . ." pp. 3 1 0 -3 1 1 . F a u lk n er d e - ! b c r ib e d it a s a " v ery fa n cy sa d d le , m a d e w ith a s p e c ia l th re a d and a ! t r e e w h ittle d out in th e sh op ." j * 7 - C u llen , p. 3. M ed ford E v a n s, "O xford, M is s is s ip p i," South- j V e s t R e v ie w , 15:47, A u tu m n 1929, n o te s that as la t e as 1929 th e r e w a s j s t i l l an O xford law p r o h ib itin g th e d r iv in g of any " s e lf-p r o p e lle d v e - j h id e " on th e s t r e e t s . j ® B ill H udson, " F au lk n er b e fo r e 'S a n c tu a r y ,1 1 1 The C a ro lin a ! M a g a z in e , 6 9 :1 2 , A p r il 1935. th ey d ip ped tw e lv e W yandotte h en s into a b ig ca n of it. B y th e tim e th e j i i p ain t d ried , th e h en s "had a ll d ied w ith th e ir b o o ts on, sittin g up" (H ud- I | son , p. 12). Such in c id e n ts b rin g to m in d th e co m m en t w h ic h h is g ra n d m o th e r, the w ife of D r. W ill M u rry in R ip le y , on ce m ad e about the boy: j "a c h ild th at fo r th re e w e e k s in the m on th . . . w a s an a n g e l and th e 9 fou rth w e e k . . . a d e v il." T h ere s e e m s to be a kind of p o e tic j u s tic e fo r the p oor c h ic k e n s in an oth er of h is ch ild h o o d " e x p e r im e n ts," w h ic h i 1 fa ile d , fo r h e b u ilt a p a ir of w in g s and tr ie d to f ly w ith th em , the in e v i- | I ta b le r e s u lt b ein g a d r a m a tic illu s tr a tio n of th e im m in en t p ow er of ! | | g ra v ity . He en jo y ed b a s e b a ll and lik e d to p la y p r a c tic a l jo k e s on h is | b r o th e r s and oth er b oyh ood co m p a n io n s. O nce he sh o t at p a s s e r s b y I j fro m h is u n c le 's u p s ta ir s o ffic e w ith a sq u ir t gun fille d w ith " stin k w a te r ," and a s a r e s u lt th at day w a s kept fr o m going to a c ir c u s w h ich had sto p p ed in the to w n .^ j ; ■ i A ll a v a ila b le e v id e n c e in d ic a te s th at W illia m w a s ju st about a s ! p r e c o c io u s a s Tom S aw yer; fo r , ju s t a s T om e s c a p e d h is r e s p o n s ib ili t ie s by R e y n a r d -lik e s u b t e r fu g e s --p a r t ic u la r ly the p s y c h o lo g ic a l d e c ep tio n of w h itew a sh in g Aunt P o lly 's f e n c e - - B illy a ls o a v o id ed h is d a ily c h o r e s by b rib in g h is p la y m a te s to do th em fo r h im , g iv in g a r tfu l j n a r r a tio n s o f Indian s t o r ie s and fa ir y ta le s of h is own in v en tio n in r e - j i j tu rn . He did not s ta r t to sc h o o l u n til he w a s e ig h t y e a r s old , th en m ad e i up fou r g r a d e s durin g h is f ir s t tw o y e a r s (H udson, pp. 12, 11). H is ! th ir d -g r a d e c la s s m a t e , L eo C a llo w a y , a r u r a l m a il c a r r ie r in O xford, I ^ P h il Stone, " W illiam F a u lk n er, the M an and H is W ork," N o. 3,j p . 4. | ! io i | C oughlan, P t. 2, p._133. r e m e m b e r e d th at, w h en q u estio n ed by th e te a c h e r c o n c e r n in g h is fu tu re hm b itio n , B illy w ould a lw a y s sta n d up and sa y , "I w ant to be a w r ite r lik e m y g rea t-g ra n d d a d d y ." S a lly , W illia m 's c o u sin , r e c a lle d , "It got s o th at w h en B illy told yo u so m e th in g , you n e v e r knew if it w a s th e tru th o r ju st so m e th in g h e 'd m a d e u p ." ^ A t th e a g e of tw e lv e , he p ro d u ced a j lit t le h a n d -p rin te d n e w sp a p e r w h ich " c h r o n ic le d th e h a p p en in g s on South S treet" and so ld fo r a p en n y a cop y. L a te r, he h a n d -p rin te d and j : j bound s ix c o lle c tio n s o f h is youthfu l p o e m s , and so ld th em fo r a to ta l of j 12 \ $ 2 5 . W illia m 's U ncle J. W. T. F a lk n e r II h a s, p e r h a p s, b e s t su m m e d j 1 i up th e fa m ily attitude to w a rd F a u lk n er th e boy by sta tin g , "He n e v e r 13 w a s nothin' but a w r ite r ." j ! W illia m w a s fo r m a lly ed u ca ted u n til h is so p h o m o re y e a r in h igh s c h o o l. D u rin g th e se y e a r s th e r e is lit t le doubt th at he e x h ib ite d so m e l im p a tie n c e w ith fo r m a l ed u ca tio n , but the sta te m e n t th at h e w a s "a p o o r i 14 studen t" sh o u ld not be ta k en at fa c e v a lu e . C u llen r e c a lls th at F a u lk - j n e r ! ^ C o u g h la n , pp . 1 3 3 -1 3 4 . 12 H ud son , p. 12. A c co r d in g to H u d son 's in te r v ie w e e , M iss E lla I W righ t, fo r m e r p r in c ip a l of O xford H igh S ch o o l, "One of th e s e . . . w a s ! a d v e r tis e d fo r sa le in N ew Y ork . . . in 1934 fo r $ 3 0 0 , but I have no in - j fo r m a tio n a s to the s a le of it." M ah ala S a v ille , R e fe r e n c e L ib r a r ia n at j th e U n iv e r sity of M is s is s ip p i, in a le tte r to L o is M cC lu re, now H ead | ■Librarian at F u lle r to n Ju n ior C o lle g e , June 13, 1962, s a y s th at "we ; know nothing about su c h a b ook of p o e m s ," and "It sou n d s v e r y m u ch as i f it had b e e n co n fu sed w ith the p la y 'M a r io n e tte s' . . of w h ich F a u lk n e r m ad e s ix c o p ie s b y hand. F o r fu rth e r in fo r m a tio n s e e J a m e s B. M e r iw e th e r , The L ite r a r y C a r e e r of W illia m F a u lk n er (P r in c e to n , [1961), pp. 8 - 9 . ^ C o u g h la n , P t. 2, p. 133. ' 1 14 1 j W illia m V an O 'C onnor, W illia m F a u lk n e r , U n iv e r sity of M in - j n e s o ta P a m p h le ts on A m e r ic a n W r ite r s , N o. 3 (M in n ea p o lis, 1959), p. 5. | ; w a s a lit t le fe llo w w h en I w en t to s c h o o l, about tw o g r a d e s b eh in d m e and s m a ll fo r h is a g e . On th e sc h o o l grou nd h e sto o d arou n d a g r e a t d e a l, and I n e v e r sa w h im p la y m a n y g a m e s w ith oth er c h ild r e n . He w a s m o r e of a lis t e n e r than a ta lk e r , y e t e v e r y o n e lik e d h im and no ; one e v e r c a lle d h im a s i s s y . (C u llen , pp. 3 -4 ) C u lle n 's b ro th er, H al, w ho w a s a c la s s m a t e of W illia m , s a id th at the ' boy w a s "one of th e tw o b r ig h te st" in the s c h o o lr o o m and w a s o u tsta n d - j ing fo r th e s k illfu l p ic tu r e s w h ich he d rew . L ik e John C u llen , H al u s e d j ■ I to sto p b y th e F a lk n e r h o m e a fter sc h o o l and p la y w h en h e w a s a boy; he to ld h is b ro th er th at, as a ch ild , W illia m lik e d b a se b a ll, r ea d a lo t, but did not r e lis h c o w b o y -a n d -In d ia n and w r e s tlin g (p. 4). One rep o rt s ta te s th a t h e w a s "too s m a ll to p la y b a ll," but "took g r e a t in t e r e s t in j sc h o o l a c tiv itie s and in c e s s a n t ly w r o te j e s t s , p o e tr y , and sh o r t sto r ies" j j (G reen , p . 299), w h ile a n o th er m a in ta in s th a t "He w a s n o to r io u sly w a y - j w a rd a s a sch o o lb o y . . . r e fu sin g to stu d y anything but E n g lish and m o r e or l e s s g ettin g by w ith h is r e c a lc itr a n c e " (E v a n s, p. 58). B e fo r e j he le f t s c h o o l fo r a jo b in h is g r a n d fa th e r 's bank, h o w e v e r , he r e c e iv e d j a b ro k en n o se w h ile p la y in g q u a rterb a ck on the O xford fo o tb a ll te a m j a g a in st its tr a d itio n a l r iv a l, H o lly S p rin g s (H udson, p. 11). ' F a u lk n er w a s an e r r a tic stu d en t, by d e g r e e s s u c c e s s f u l, r e b e l lio u s , c r e a tiv e , m o o d y , c o -o p e r a tiv e , and w ith d raw n . W hat is g en erally! ; i o v e r lo o k e d is th a t h e p ro b a b ly d rop p ed out of sc h o o l not a s a c u lm in a - j tio n of a d o le s c e n t r e b e llio n or th rou gh in d iffe r e n c e , but r a th e r by d e - I ! i sig n , a p la n a r r iv e d a t p a r tia lly th rou gh th e in flu e n c e of h is o ld er fr ie n d P h il S tone. W illia m had b e e n c r it ic a l of th e in a d eq u a cy of h is fo r m a l ed u ca tio n fo r a lo n g tim e , and had m ad e a rd en t e ffo r ts to su p - j iplem ent it w ith in n u m e r a b le b ook s fro m both h is g ra n d fa th er's and S to n e's lib r a r ie s . It s e e m s lik e ly th at he quit sc h o o l not m e r e ly in j o r d e r to w o rk in h is g r a n d fa th e r 's bank, but a ls o to a v a il h im s e lf of an ed u c a tio n m o r e u n co n stra in ed and b e tte r s u ite d to h is ow n t a s t e s than i th e p u b lic sc h o o l p e r m itte d or p r o v id e d . A s in d efin ite a s h is s c h e m e of s e lf -e d u c a tio n m a y h a v e b een , h e n e v e r t h e le s s w ish e d to fo llo w th e e x - i j i am p le of Stone by tr a c in g h is fr ie n d 's own p a th s of p r o g r e s s at th e U ni-j v e r s it y . A t th is tim e a h ig h sc h o o l d e g r e e w a s not an a b so lu te p r e - 1 r e q u is ite fo r e n te r in g c o lle g e , and th e r e w a s th e p o s s ib ilit y of attending! ic ! c l a s s e s a s a s p e c ia l stu d en t. He cou ld , th e r e fo r e , p r e p a r e h im s e lf for; u n iv e r s ity w o r k th rou gh in d ep en d en t stu d y. j The d e ta ils of h is p o s itio n at the bank m u st be g a th ered b y in - j fe r e n c e fr o m F a u lk n e r 's ow n sk e tc h y co m m en t: j i Quit s c h o o l and w en t to w o r k in G ra n d fa th er's bank. L ea rn ed the m e d ic in a l v a lu e of h is liq u o r . G ran d fath er thought it w a s th e ja n ito r. H ard on th e ja n ito r . . . . The job at th e bank w a s one of th e th re a d s of e x p e r ie n c e w h ich th e boy ] w a s g a th er in g and w h ich la te r w ou ld be w o v e n into th e fa b r ic of h is r e g io n a l fic tio n . By h is own a cco u n t, h e r ea d lit t le h is to r y , but r a th e r j i I ta lk ed w ith p eo p le: If I got it str a ig h t it 's b e c a u s e I d id n 't w o r r y w ith o th er p e o p le 's id e a s about it. W hen I w a s a b oy th e r e w e r e a lo t of p eo p le around w ho had liv e d th rou gh it [the C iv il W ar], and I w ou ld p ic k it u p - - I w a s ju st sa tu r a te d w ith it, but n e v e r r ea d about itA^ ! j S p e c ific a lly , H udson s a y s th at F a u lk n er, " in flu en ced b y h is j fr ie n d P h il S tone, d rop p ed out of s c h o o l in th e tenth gra d e" (p. 11). Hud-j bon eq u a tes the in flu e n c e o f th e b o o k s w ith S to n e's p e r s o n a l g u id a n ce, isaying of th e b o o k s, "th ey w e r e fa r m o r e a ttr a c tiv e th a n sc h o o l b o o k s, pnd p o s s ib ly had a s m u ch to do w ith h is d rop p in g out of sc h o o l a s the iadvice of h is o ld e r fr ie n d P h il, w ho h im s e lf had p u rsu ed a fo r m a l ed u - j c a tio n at th e lo c a l u n iv e r s ity . . ." (p. 12). ^ M a r s h a ll J. Sm ith , " F au lk n er of M is s is s ip p i," p. 4 1 6 . | i I j C a n tw ell, "The F a u lk n er s . . ." p. 306. j L a te r, a s a N ob el P r iz e w in n er, h e w as to e la b o r a te upon th e s e e x p e d iences in g a th erin g lo c a l co lo r th ro u g h ju st lis te n in g : I r e m e m b e r a lo t of them [C iv il W ar v e te r a n s ]. I w a s f i v e - s i x - s e v e n y e a r s old arou n d 1 9 0 4 -5 - 6 and 7, o ld enough to u n d ersta n d , to } lis t e n . T hey d id n 't ta lk so m u c h about th e w a r , I had g o t th at fr o m ! the m a id e n s p in s te r aunts w h ic h had n e v e r su r r e n d e r e d . But I c a n ! r e m e m b e r the old m en , and th e y w ould g e t out the old shabby g r e y j u n ifo r m s and g e t out the o ld b a ttle -fla g on D e co r a tio n , M e m o r ia l j D ay. Y e s, I r e m e m b e r any n u m b er of th e m . But it w a s the a u n ts, ; the w o m en that h ad n e v e r g iv e n up. M y aunt, sh e lik e d to go to th e j p ic tu r e sh o w s, th e y had Gone w ith the W ind in at th e th e a tr e at h o m e ; and sh e w en t to s e e it, and a s so o n as S h er m a n ca m e on th e s c r e e n j i sh e got up and le ft. She had p a id good m o n e y to go th e r e , but sh e | w a sn 't goin g to s it and lo o k at S h erm a n .^ ' F a u lk n er sa id th at h e had grow n up w ith a N e g r o boy lik e R ingo in T he j U n v an q u ish ed , w ith w hom he p la y e d C ivil W ar g a m e s. C o n tra ry to C ul-j i le n 's s ta te m e n t c o n c e r n in g the m a n y toys w h ic h the F a lk n e r c h ild r e n j had, F a u lk n er sa id , " T h ere w e r e no toys in th is p a rt of th e cou n try w h en I w a s a boy," in d ica tin g th e sta te m e n t a s a p a r tia l e x p la n a tio n fo r ‘ adding, "We w ould fig h t o v er th e b a ttle s and th e old m e n w o u ld t e ll u s ]Q w hat it w a s lik e ." The boy w a s im a g in a tiv e and in v e n tiv e . W ork in g in h is g r a n d fa th er1 s bank, lo c a te d ju st a c r o s s th e s tr e e t fr o m the c o u r t h o u se , g a v e young W illia m the op p ortu n ity to co n te m p la te w hat w a s g o - 1 in g on about h im , to o b se r v e th e r itu a l-lik e a r r iv a l or d ep a rtu re o f h is ■ , g ra n d fa th er in h is c a r r ia g e , to c o n v e r s e w ith th e C iv il W ar v e te r a n s : and "the o ld p eo p le" w ho did b u s in e s s at th e bank, to m in g le w ith th e m I j | ;on the c o u rth o u se la w n during h is id le h o u r s - - i n sh o rt, to s to r e up e x - j i i j , j p e r ie n c e s w h ich c o u ld la te r be draw n upon fo r w r itin g . j I ! i j 1ft j F r e d e r ic k L . Gwynn and Josep h L . B lo tn e r , e d s ., F a u lk n er in j the U n iv e r s ity (C h a r lo tte s v ille , V irg in ia , 1 9 5 9 ), " S e ssio n T w en ty- E ig h t," F ir s t - Y e a r E n g lish c o u r s e , A p ril 28, 1958, p. 2 4 9 . n i C an tw ell, "The F a u lk n e r s . . ." p . 306. i S o m e tim e s h is w a n d er in g s to o k h im to the C u llen h om e in th e co u n try and to o ld T h om p son L ak e, w h e r e th e b o y s w e r e fon d of g a th e r in g. T h ere he w a d ed and sw a m in th e w a te r , and, lik e th e oth er b o y s, o c c a s io n a lly sh o t b u llfr o g s and co tto n m o u th s w ith a .22 r if le . He e n - j t | jjoyed lis te n in g to hunting s t o r ie s to ld by o ld e r b o y s, and h e often j q u e r ie d ru ra l fr ie n d s about th e w ild lif e as th e y ro a m ed th e f ie ld s . YetJ he is r e m e m b e r e d as one w h o did not a sk to o m an y q u e stio n s as tow n b o y s o ften did, and as one w h o to o k p le a s u r e sim p ly in s tr o llin g th ro u g h the w o o d s and o b se r v in g th e m . H is m o s t d is tin c tiv e p e r s o n a l tr a it a t j th e tim e w as an u n u su al p e n s iv e n e s s (C u llen , p . 4). Of th e s e y e a r s d u rin g w h ich W illia m w a s rea d in g w id e ly , h is m o th e r r e m a r k e d that he p o s s e s s e d "an e x c e lle n t m e m o r y fo r u n u su a l ! and a c c u r a te w o r d s" (H udson, p. 12). He w a s a lr ea d y u sin g so m e of j ithem in h is a d o le s c e n t p o e tr y . "At th e age of six te en ," F a u lk n er la te r I w r o te , "I d is c o v e r e d Sw inburne": Or ra th e r , Sw inburne d is c o v e r e d m e , sp r in g in g fro m so m e to r tu r e d tin d er grow th of m y a d o le s c e n c e , lik e a h igh w aym an , m ak in g m e h is s la v e . M y m e n ta l life a t th at p e r io d w a s s o c o m p le te ly and sm o o th ly v e n e e r e d w ith su r fa c e in s in c e r it y - - o b v io u s ly n e c e s s a r y to m e at the! t im e , to su p p o rt in ta ct m y p e r s o n a l in t e g r ity - -th a t I ca n not t e ll to } ; th is day e x a c t ly to w h at depth h e s tir r e d m e , ju st how d e e p ly th e j fo o tp r in ts o f h is p a s s a g e a r e le f t in m y m in d . It s e e m s to m e now \ th a t I found h im nothing but a fle x ib le v e s s e l in to w h ic h I m ig h t p u t j m y own v a g u e e m o tio n a l sh a p es w ith o u t b rea k in g th em . It w a s y e a r s la t e r th at I fou nd h im m u ch m o r e th an b r ig h t and b itte r sound, m o r e j th a n a s a tis fy in g t in s e l of b lo o d and d eath and gold and th e in e v ita b le ; s e a .^ j • I |At th is age h e a ls o "dipped in to S h e lle y and K e a ts," but he w a s not i Im oved by th em b e c a u se of " c o m p la ce n c e and a youthfu l m o r b id ity , j | In " V e r s e Old and N a sc e n t: A P ilg r im a g e ," S alm agu n d i (M il- j jw au k ee, 1932), p. 34. O r ig in a lly pub. in D oub le D e a le r , 7 :1 2 9 -1 3 1 , j i A p r il 1925. __ C * X w h ich c o u n te r a c te d th e m and le f t m e c o ld .” ! It w a s at th is tim e , to o , th at he b e c a m e a c lo s e fr ie n d of P h il J j IStone, th e one p e r s o n w ho w a s to h a v e th e m o s t c o n s tr u c tiv e in flu e n c e upon h is c a r e e r a s a w r it e r . T he F a lk n e r and Stone f a m ilie s had b e e n a cq u a in ted fo r m a n y y e a r s , but W illia m h ad b e e n fo u r y e a r s y o u n g er than P h il, and th e tw o h ad n ot b e e n th e c lo s e fr ie n d s th a t th e y w e r e to b e c o m e a ft e r a d o le s c e n c e . T h en in 1 9 1 4 , w h en F a u lk n er w a s s e v e n te e n ! | j y e a r s old , S t o n e - - a t th e tim e a g ra d u a te of Y ale and a law stu d en t at I O le M is s - - w e n t to th e F a lk n e r h o u se on e Sunday a fter n o o n ^knd r e a d th e \ i i b o y 's p o e m s . S tone r e c a lls th a t he w a s s u r p r is e d and e la te d w ith th e | d is c o v e r y h e m ad e: "A nyone c o u ld s e e th at he h ad ta le n t. It w a s a s j 22 c le a r a s th a t w in d ow th e r e ." P r io r to th e ir fr ie n d s h ip , m o s t of j F a u lk n e r 's r e a d in g m a tte r h ad c o m e fr o m th e you n g C o lo n e l's lib r a r y , j w h o se " ta ste w a s fo r s im p le s tr a ig h tfo r w a r d r o m a n tic e x c ite m e n t lik e j S co tt or D u m a s. ..." In a d d itio n , F a u lk n er la te r w r o te , th e r e w a s a " s c a tte r in g of o th er v o lu m e s ," in c lu d in g one by H en ry k S ie n k ie w ic z j • ! iwhich m a d e a d eep im p r e s s io n upon h im w ith th e a u th o r 's p r e fa to r y r e - 23 m a r k th a t th e b ook h ad b e e n w r itte n "to u p lift m e n 's h e a r ts ." E v e n ^ " V e r s e O ld and N a s c e n t . . p. 35. j In te r v ie w N o. 1. W hen Stone m ad e th is r e m a r k h e p o in ted a t j h is o ffic e w in d ow to w a r d J a c k so n A v e n u e . A lth ou gh C ough lan, P t. 2, p. j 156, g iv e s th e im p r e s s io n th a t S to n e 's in flu e n c e u p on F a u lk n er d id not ] (begin in e a r n e s t u n til th is m e m o r a b le Sunday a fte r n o o n . B ill H ud son , j " F a u lk n er b e fo r e 'S a n c tu a r y ,'" pp. 1 1 -1 2 , in d ic a te s by h is r e f e r e n c e to l S to n e 's u r g in g F a u lk n e r to d ro p out of th e ten th g r a d e th a t th e in flu en ce) b egan e a r li e r . | ^ F a u lk n e r , " F o re w o rd ," T he F a u lk n er R e a d e r (N ew Y ork , j 1954), p . x . T he e d . is d a ted th ro u g h it s c o p y r ig h t " 1954 b y W illia m F au lk n er" ; th e " F o rew o rd " i t s e l f is s ig n e d "N ew Y ork, N o v e m b e r , 1953" (p. x i) . F a u lk n e r s p e c if ie d "a s t o r y of th e tim e of K ing John th ough the b oy had r ea d w ith lit t le s e le c t iv it y and s e r io u s n e s s of p u r p o s e , he w as la te r to a d v ise o th er you n g p e o p le that th e b e s t w a y to j [ I ! I le a r n to w r ite w a s to do th e sa m e : [ R ead, r ea d , read'. R ead e v e r y t h in g - - t r a s h , c l a s s i c s , good and bad; I s e e how th e y do it. W hen a c a r p e n te r le a r n s h is tr a d e , he d o es so j b y o b se r v in g . R ead! Y o u 'll a b so r b it. W r ite . If it is good y o u 'll j fin d out. If it 's not, th ro w it out th e w in d o w 7“ ^ P h il Stone le n t youn g F a u lk n er m a n y of h is ow n b o o k s, so m e of th em by jR ussian w r it e r s (C hekhov, D o sto e v sk y , G ogol); n in e te e n th -c e n tu r y ( F r e n c h w r ite r s (e s p e c ia lly B a lza c); and, la t e r , the F r e n c h S y m b o lists (M a lla r m e , V e rla in e); the new A m e r ic a n w r it e r s (A ik en , A n d erso n , j F r o s t , L o w e ll, M a s te r s , M illa y , Sandburg), and so m e w o rk s of the i T C a v a n t-g a r d e (E lio t, J o y c e , P ou n d ). F a u lk n e r 's p r im a r y in t e r e s t s , i h o w e v e r , w e r e p o e tic ra th e r th an fic tio n a l. It w as d u rin g th e se e a r ly j l j y e a r s that s o m e of th e p o e m s w h ich la te r e m e r g e d in T he M a rb le F au n ; !(1924) and A G reen B ough (1933) w e r e f ir s t c o m p o se d . In a n sw er to a q u e stio n c o n c e r n in g th e p e r io d of d e v e lo p m e n t during w h ich he w r o te th e la tte r book , F a u lk n er said : j T hat [A G r ee n B ough] w a s w r itte n at the tim e w h en y o u w r ite p o e tr y / w h ich is se v e n te e n , e ig h te e n , n in e te e n --w h e n you w r ite p o e tr y ju st ;S ob iesk i, w h en the P o le s , a lm o s t sin g le -h a n d e d , k ept th e T urks fro m [overru nnin g C e n tr a l E u ro p e," th u s in d ic a tin g the h is t o r ic a l n o v e l P a n j M ic h a e l, f i r s t pub. 1893 and tr . fr o m th e P o lis h by J e r e m ia h C u rtain , j |It i s th e th ir d of a tr ilo g y in clu d in g W ith F ir e and S w ord and D elu g e ■ iFor fu rth er in fo r m a tio n on S ie n k ie w ic z , a N o b el P r iz e w in n er in 1905, isee W illia m L yon P h e lp s , " H enryk S ie n k ie w ic z ," E s s a y s on M od ern jN o v e lists (N ew Y ork, 1929), pp. 1 1 5 -1 3 1 . ! ^ L a v o n R a sc o e , "An In te r v iew w ith W illia m F a u lk n er ," W e st- j jern R e v ie w , 15:301, S u m m er 1951. i I ^ S t o n e , In terv iew N o. 1. T h e se a r e the w r it e r s Stone m e n tio n e d in th is in te r v ie w , and h e added, " B ill r e a d e v e r y th in g h e co u ld j Jget h is han ds on." fo r the p le a s u r e of w r itin g p o e tr y , and y o u d on 't th in k of p r in tin g it J u n til la t e r . (Taken at fa c e v a lu e , th is s ta te m e n t in d ic a te s th at F a u lk n e r w a s w r itin g i a good p o r tio n of h is p o e tr y b e tw e e n the y e a r s 1 9 1 4 -1 9 1 7 . B u t h is d e c la r a tio n s on the s u b je c t w e r e in c o n s is te n t; in 1947, h e sa id th a t the b estj i a g e fo r w r itin g p o e tr y i s fr o m s e v e n t e e n to t w e n t y - s ix , e x p la in in g , " P o e tr y w r itin g is m o r e lik e a s k y r o c k e t w ith a ll y o u r f ir e c o n d e n se d ; i in to one ro ck et" (R a s c o e , p . 3 0 2 ). The d a te of p u b lic a tio n fo r A G reen j B ou gh , 1933, is o b v io u sly m is le a d in g , fo r b y e a r ly 1925 F a u lk n e r had a lr e a d y p r e p a r e d th e b a s ic v o lu m e un d er th e tit le o f The G reen in g j ! 2 7 i B o u g h . One co u ld , th en , lo g ic a lly a s s ig n th e d a te s 1 9 1 4 -1 9 2 5 as th o se . ; j d u rin g w h ic h he c o n c e iv e d and w r o te m o s t of h is p o e tr y , and a fte r j e a r ly 1925 m o s t of h is v e r s e c o n s is t e d of r e v is io n r a th e r th a n w r itin g j i new p o e m s . , i ! . I A m o n g o th e r s w h o h a v e b e e n n o ted a s h a v in g in flu e n c e d F a u lk - j n e r d u rin g h is e a r ly p e r io d a r e H art C ra n e, C u m m in g s, H o u sm a n , and j ; | R o s s e t t i. A s fo r m th e fo lk so n g and b a lla d have b e e n m e n tio n e d . T he j : i l i s t ca n b e ex p a n d ed to in clu d e a ls o S h a k e sp e a r e , th e R o m a n tic s ( e s p e c ia lly K ea ts and S h e lle y ), the sta n d a rd c l a s s i c s (D e fo e , D ic k e n s, ^ I n G wynn, F a u lk n er in th e U n iv e r s it y , " S e s s io n O n e," G radu - ! a te C o u r se in A m e r ic a n F ic tio n , F e b r u a r y 15, 1 9 5 7 , p . 4. j ! i j ^ C a r v e l C o llin s , "A bout the S k e tc h e s," T h e N ew O r le a n s S k e tc h e s (N ew B ru n sw ick , 1958), p. 13. It w ou ld s e e m th a t a n o th er (statem en t m a d e b y F a u lk n er m a y a p p ea r to be m is le a d in g , " if I co u ld gc b a c k to s a y 1920 w h e n I s ta r te d w r itin g . . . ." in Gwynn, F a u lk n er in th e lU n iv e r sity , " S e s s io n E ig h t," U n d er g r a d u a te C o u r se in C o n te m p o ra r y L ite r a tu r e , M arch 13, 1958, p. 6 5 . In c o n te x t, h o w e v e r , it s e e m s a p - ( p a r e n t th a t F a u lk n er w a s sp e a k in g g e n e r a lly and n o t s p e c if ic a lly , and w a s r e f e r r in g p r im a r ily to a d a te in d ic a tin g a s e r io u s n e s s o f p u rp o se j r a th e r th a n to a c h r o n o lo g ic a l d ate of c o m p o s itio n . F ie ld in g , T h a c k e r a y ), and th e w h o le s c h o o l o f n a t u r a lis t s in A m e r ic a j 2 Q | c o m m e n c in g w ith N o r r is and D r e is e r . A stu d y of s o m e of th e s e in f lu e n c e s , a lo n g w ith o th e r s , w ill be m a d e a s th e y r e la te to F a u lk n e r 's 29 e a r ly lit e r a r y p r o d u ctio n . R ea d in g and w r itin g p o e tr y w e r e n ot th e on ly a v e n u e s w h ic h h is ' s e lf - e x p r e s s i o n so u g h t. A fte r h e h ad le f t th e ten th g r a d e , h e tr ie d to do| s o m e p a in tin g a l s o . ^ N e ith e r h is m o th e r , h is G ran d m oth er M u rry , norj h is b r o th e r Joh n , had h e b e e n old en ou gh a t th e tim e , w o u ld h a v e b e e n ! s u r p r is e d , fo r th e s p a tia l a r ts w e r e v ir tu a lly a F a lk n e r fa m ily tr a it. D ra w in g s by F a u lk n er w e r e go o d en o u g h to a p p ea r in th e y e a r b o o k of j th e U n iv e r s ity o f M is s is s ip p i, O le M is s , b e fo r e h is R o y a l A ir F o r c e j I tr a in in g in C anada in 1 9 1 7 . A s la te a s 1958 F a u lk n er sta te d th a t he 1 I ; I p a in te d , but j N ot s e r io u s ly . O c c a s io n a lly w h en s o m e th in g c o m e s to hand w h en j th e y a r e p a in tin g b a r n s and s ta b le s and th in g s and I’l l g e t a sm o o th j p ie c e of p la n k and k n ife or so m e th in g to s m e a r w ith and p a in t m u le s j and p e o p le p lo u g h in g , th in g s lik e th at, but n e v e r s e r io u s . D ogs in th e w o o d s, th a t s o r t of th in g , h o r s e s . ^ ! 28 H yatt H. W a g g o n er, W illia m F a u lk n e r fro m J e ffe r s o n to the ; W o rld (L e x in g to n , K en tu ck y, 195 9 ), n. 5, p . 2 6 8 . S ee a ls o G e o rg e P . j ;G arrett, J r ., "A n E x a m in a tio n of th e P o e t r y of W illia m F a u lk n e r ," P r in c e to n U n iv e r s ity L ib r a r y C h r o n ic le , 1 8 :1 2 4 -1 3 5 , S p rin g 1957. ! ICoughlan, T he P r iv a te W o rld of W illia m F a u lk n e r (N ew Y ork, 195 4 ), p. j 4 8 . W ard L . M in e r , T he W o rld of W illia m F a u lk n er (D u rh am , 1952), p .i 116. C o llin s, N ew O r le a n s S k e t c h e s , p. 14, m e n tio n s th a t F a u lk n er d is - j [approved of L in d sa y , S an d b u rg, and A m y L o w e ll a s la te a s 1921. > ! ^ A s th e in flu e n c e s r e la t e to F a u lk n e r 's p o e tr y , s e e C h s. III-V . j ^ O ' C onn or, W illia m F a u lk n e r , p . 5. 31 M e r iw e th e r , T he L ite r a r y C a r e e r o f W illia m F a u lk n e r , p. 7. j j ^ G w y n n , F a u lk n er in th e U n iv e r s it y , " S e s sio n T w e n ty -N in e ," [U n d ergrad u ate C o u r se in C o n te m p o r a r y A m e r ic a n L ite r a tu r e , M ay 1, 11958, p. 2 7 1 . _____________________________________ ! W ith h is stro n g lit e r a r y in c lin a tio n s and p e r io d s of ta c itu r n ity j and m o o d in e s s , F a u lk n er a s a b o y m a y a p p ea r d e lic a te and p h y s ic a lly in a c tiv e , but su ch an im p r e s s io n is e r r o n e o u s . P e r h a p s too m an y c r i t ic s in w r itin g of th e s e y e a r s , fo r w h ich the in fo r m a tio n is a ll too sk e tc h y , ten d to ig n o r e su c h a s p e c ts of b o yh ood as h is in t e r e s t in s p o r ts , w h ich h e n e v e r l o s t e v e n a s an adu lt. W hile q u a rter b a c k in g h is ] h ig h sc h o o l te a m a g a in st it s a r c h -r iv a l to th e north, H o lly S p rin g s, he j ‘ 33 i su ffe r e d a b ro k en n o s e . W hen h e w as s t ill a boy, he w e n t on h u n tin g | tr ip s to C o lo n e l S to n e's ca m p , w h e r e he s ta lk e d gam e w ith v e te r a n | h u n te r s. The m o s t v e n e r a b le of th e s e m en , U n cle Bud M ille r , r e m e m b e r e d you n g W illia m 's k illin g a d eer w h e n he w a s o n ly fifte e n or ' | s ix te e n y e a r s old . A n o th er of F a u lk n er 's h u n tin g co m p a n io n s h a s o b - j s e r v e d th at m a n y of the w r it e r 's s to r ie s a r e b a se d on e v e n ts of th e s e d a y s, alth ou gh F a u lk n er w r o te about m any th in g s w h ich h e n ev er sa w , j ' fo r "The s t o r ie s of th e o ld h u n te r s are o ften th e s o u r c e s of h is ta le s." i ! j F a u lk n e r 's T he B e a r d e a ls w ith th e in itia tio n o f a te e n -a g e d boy to th e r itu a l of the hunt, b eg in n in g w ith the k illin g of h is f ir s t b u ck and 35 old Sam F a th e r s' m a r k in g of h is fa c e w ith th e hot b lo o d of the k ill; C a n tw ell, "The F a u lk n e r s . , pp . 3 0 0 -3 0 4 , r e p o r ts F a u lk - I n e r 's d is c u s s in g w ith k e e n in t e r e s t the M is s is s ip p i- T e n n e s s e e g a m e of | 1938 w ith h is ste p so n , M a lco lm . ■^John C u llen , O ld T im e s in the F a lk n e r C o u n try , p. 13. C on c e r n in g U n cle Bud M ille r 's a u th o rity as an o ld hu n ter, C u llen s t a t e s |that h e h a s "gone on e v e r y one of our ca m p in g tr ip s in th e M is s is s ip p i b o tto m s fo r s ix ty s tr a ig h t y e a r s " (p. 37). | ! O C P h il Stone, In te r v iew N o. 2 (O xford , M is s is s ip p i) , 10 A .M ., | Ju ly 28, 1962. M r. Stone d e m o n str a te d th is ritu a l to m e as I s a t am ong] the r u in s of th e Stone h o m e p la c e . He bent o v e r c lo s e to m y fa c e , j lo o k e d in to m y e y e s , and b r u sh e d both s id e s of m y fo r e h e a d w ith h is f in g e r s . C u llen , p. 13, s a y s th a t F au lk n er h u n ted w ith C o lo n el S to n e 's th e hunt i t s e l f c u lm in a te s w ith th e h e r o ic a c tio n s o f L ion, the e x tr a - j i o r d in a r y m o n g r e l dog, and th e p r im itiv e B oon H oggan b eck in sla y in g j ; ■ j D id B en, th e b e a r . M uch of th is s to r y , as w e ll a s o th e r s , c a m e fro m j F a u lk n e r 's e x p e r ie n c e s in the cam p o f C o lo n el S ton e, P h il S to n e 's fa th e r , w h o s u g g e s ts th e c h a r a c te r M a jo r de S p ain. Of c o u r s e F au lk n er! a m p lifie d h is own e x p e r ie n c e s and su p p lem en te d th em w ith th o se of i oth er h u n te r s. He w a s o n ce a sk e d b y a stu d en t if th e r e w a s a dog, "a j I I r e a l L io n ," and gave th is rep ly: Y e s, th e r e w a s. I ca n r e m e m b e r th a t d o g - - I w a s about th e age of that lit t le b oy [Isa a c M c C a s lin ]--a n d he b e lo n g e d to our p a c k of b e a r j and d e e r d o g s, and h e w a s a c o m p le te in d iv id u a lis t. He d id n 't lo v e 1 anybody. The oth er d o g s w e r e a ll a fr a id of h im , he w a s a sa v a g e , but h e did lo v e to run th e b e a r . Y e s, I r e m e m b e r h im q u ite w e ll. I He w a s m o s tly a ir e d a le , he had s o m e hound and L ord on ly know s ! w hat e ls e m ig h t h a v e b e e n in h im . He w a s a tr e m en d o u s b ig b r u te - - ! sto o d about th at h igh , m u st h a v e w e ig h e d s e v e n t y -fiv e or eig h ty p ou n ds. F a u lk n er th en w en t on to e x p la in th a t the dog did n ot, h o w e v e r , p e r fo r m j : ' i any h e r o ic a c tio n lik e the one in th e s to r y , not r e a lly . T h e r e 's a c a s e o f j the s o r r y , shabby w o r ld th at d on 't q u ite p le a s e you , so y o u c r e a te j one of you r own, so y o u m ak e L io n a lit t le b r a v e r than h e w a s . . . . ^ \ (it a lic s added) T h e g r e a t L ion , h o w e v e r , r em in d s Joh n C u llen of a n o th er r e a l dog w h ich w a s o b se r v e d on S to v a l B ayou hu nting a ll a lo n e , a m o s t unique dog: | ■ j He m u st h ave sto o d th ir ty in c h e s ta ll. He w a s of m ix e d b r e e d and j had th e b ig g e s t, d e e p e st c h e st I e v e r saw on a dog, ta p e r in g to th e i b ack lik e a p r iz e E n g lis h b u lld o g 's, but he had the lo n g n o se and long! |camp " w h ile he w a s ju st a boy, and he k ille d a d e e r w h en he w a s on ly fifte e n o r s ix te e n y e a r s old." ! * 3 £ j Gwynn, F a u lk n er in the U n iv e r s it y , " S e s sio n E ig h t," G raduate ICourse ixi^ C o n tem p o ra ry L ite r a tu r e , M arch 13, 1958, p. 59. e a r s and v o ic e of a g r e a t hound. I h a ted to le a v e th at dog out th er e a lo n e baying th at b e a r , but e v en m o r e I h a ted to sp en d th e n ig h t in j the th ic k e t. (C u llen , p. 37) i i F a u lk n er r e m e m b e r e d th e dog in one w a y , C u llen in a n o th er. Y et, th e j tw o v ie w s and th e le g e n d a r y n atu re of both a n im a ls a r e s im ila r enough ; to s u g g e s t th at o n ly one su c h dog w a s th e in s p ir a tio n and th at e a c h m a n ' p erh a p s r e m e m b e r e d th e a n im a l w ith d iffe r e n t c h a r a c t e r is t ic s . F a u lk - I n e r 's m o tiv a tio n s fo r h is p a r tic u la r e x a g g e r a tio n s a r e , of c o u r s e , obvi-j ! j ous enough, fo r he w a s, a s h e sta te d , tr y in g to c r e a te a b e tte r w o rld than h is ow n " s o r r y , shabby" one b y m a k in g L io n "a lit tle b r a v e r than he w a s." The in c o n s is t e n c ie s a re e x p la in e d th en , in p a rt at le a s t , by i h is p u r p o se . j I One fin d s in d e a lin g w ith F a u lk n er and h is w o rk th at su ch c la sh -! e s of ap p aren t " fa cts" a r e n ot in freq u en t. In a n sw er to the q u estio n about w h eth er o r n ot he had e v e r s e e n su c h an a u ctio n as th a t in "Spot- ! ] I ted H o r se s" a c tu a lly ta k in g p la c e , h e r e p lie d , ■ Y e s'm . I bought one of th e s e h o r s e s o n c e . T h ey a p p ea red in our ! co u n try , e v e r y su m m e r so m eb o d y w o u ld c o m e in w ith a n o th er b a tch of th em . T h ey w e r e W e ste r n r a n g e -b r e d p o n ie s , p in to s --h a d n e v e r had a b r id le on th em , h ad n e v e r s e e n s h e lle d c o r n b e fo r e , and th ey 'd be b rou gh t in to our to w n and a u ctio n ed off fo r p r ic e s fr o m th r e e or fou r d o lla r s up to s ix or se v e n . A nd I bought th is one fo r $ 4 .7 5 . I w a s , oh I r e c k o n , ten y e a r s old. My fa th e r at th e tim e , r a n a liv e r y j s ta b le , and th e r e w a s a b ig m an , he w a s s ix fe e t and a h a lf ta ll, he w e ig h e d tw o hu ndred p o u n d s, but m e n ta lly h e w a s about te n y e a r s old , to o . A nd I w an ted one of th o se h o r s e s and m y fa th er sa id , W ell, j if y o u and B u ste r ca n b u y one fo r w h at m o n ey y o u 'v e sa v e d , you ca n j h a v e it. A nd s o w e w en t to the a u c tio n and w e bought one fo r $4.7 5. We got it h o m e , w e w e r e goin g to g e n tle it, w e had a tw o -w h e e le d c a r t m ad e out of the fr o n t a x le of a b u ggy, w ith sh a fts on it, and w e fo o le d w ith th a t c r i t t e r - - it w a s a w ild a n im a l, it w a s a w ild b e a st, it ! w a sn 't a d o m e s tic a n im a l at a l l . A nd fin a lly B u ste r sa id th at it w a s about rea d y , s o w e had th e c a r t in a s h e d - - E s t e lle p ro b a b ly r e m e m b e r s t h is - - w e put a c r o k e r - s a c k o v e r th e h o r s e 's h ea d and b ack ed it! | in to th e c a r t w ith tw o N e g r o e s to fa s te n it in, to b u ck le t r a c e s and j to g g le s and th in g s, and m e and B u ste r got in the s e a t and B u ste r j s a id , A ll r ig h t b o y s, le t h im go, and th e y sn a tc h e d the s a c k off the I h o r s e 's h ea d . He w en t a c r o s s th e lo t- ~ th e r e w a s a b ig g a te , the la n e , * it tu rn ed it at a sh arp a n g le - - it hung the in sid e w h e e l on the gatep ostj as it tu rn ed , w e w e r e down on one hub then, and about th at tim e B u ster caught m e b y the b ack of the n eck and th rew m e ju st lik e th at and th en he jum ped out. And the c a r t w a s s c a tte r e d up th at la n e, and w e found the h o r s e a m ile aw ay, run in to a d e a d -en d s tr e e t. A ll he had le ft on him w a s ju st the h a m es-r-th e h a r n e s s gone. But that w a s ! a p le a sa n t e x p e r ie n c e . But w e kept th at h o r s e and g en tled h im to w h ere I fin a lly rod e h im . But I lo v e d th at h o r se b e c a u se th at w a s m y own h o r s e . I bought th at w ith m y own m on ey. ' {ita lic s added) j ! Y et, John C ullen, w ho a ls o o b se r v e d O xford during th e sa m e p e r io d that! F au lk n er r e c a lle d , r e la te s the fic tio n a l ep iso d e to fa c t in th e s e w ord s: He t e lls m an y s t o r ie s ju st as th ey h ap pen up to a c e r ta in p oin t, th en u s e s h is im a g in a tio n to change e v e n ts and m ak e th em su it h is p u r p o s e s . "Spotted H o r se s ," fo r e x a m p le , is m o s tly im a g in a tio n . When! w e w e r e b o y s, h o w e v e r, a m an fro m T exas did sh ip in a c a rlo a d of { m u sta n g s and s e ll th em in a lo t n ea r the old J e ff Cook boardinghouse^ w h ich s t ill sta n d s. So fa r a s I know none of th em got aw ay or c r e a te d any e x c ite m e n t. (C u llen , p. 62) (ita lic s added) J A th ird p o s s ib le in c o n s is te n c y is r e v e a le d in F a u lk n er 's s ta te - i m en t that th e c h a r a cter B oon H ogganb eck w as d raw n from a m an who w o rk ed fo r h is fa th e r. C ullen c la im s that he n ev er knew su ch a h u n ter, j e v en though "I have known F a u lk n er 's fa th e r and m e n w ho w o rk ed fo r j i h im ." C ontinuing, he g iv e s th is firsth a n d accou n t of another p o s s ib le so u r c e fo r the ch a ra cter: ‘ A n old fe llo w a lit t le lik e B oon liv e d in the b ottom , a g r ea t b ig b e a r - ; look in g typ e of m an , but he w a s not ta ll. He had e y e s lik e a w ild ani-: m a l, and he le t h is h a ir grow a ll o v er h is fa c e . He w en t b a r e -fo o te d j w alk in g around am ong th e r a ttle sn a k e s in the b o tto m s. We n ev er ■ k ille d anything but he w a s th e r e to c la im p a rt of it. He w a s ju st a j b u zza rd a fter the k ill. He had little sh o e-b u tto n e y e s lik e B oon 's and a g rea t red b ea rd . The bottom w as a h id e -o u t, a w ild h id e -o u t. j 27 Gwynn, F a u lk n er in the U n iv e r sity , " S e ssio n F iv e," the E n g lis h Club, M arch 7, 1957, pp. 2 9 -3 0 . T h is in cid en t s u g g e sts B ook F ou r of The H a m let and, a lm o s t lit e r a lly , P a r t III of The B e a r . C ullen, p. 4 4 . C u llen adds th at Boon H oggan b eck 's a c c o m pan ying Isa a c M cC a slin to M em p h is fo r liq u or is a fa c tu a l acco u n t fr o m th e Stone C am p. Som e oth er in te r e stin g co m m en ts r e la te d to F a u lk n er' s hun ting s to r ie s a re m en t io n e d on pp. 27, 28 -2 9 , and 43^ See a ls o In the f ir s t of the th r e e p r e v io u s illu s t r a t io n s of h ow F a u lk n er j [ u se d th e a c tiv e e x p e r ie n c e s of h is t e e n s , an in d iv id u a lis tic dog is m a d e j str ik in g ly n ob le and h e r o ic . In the se c o n d , an a n im a l- - p o s s ib ly th e j s a m e sp o tted p on y that C u lle n r e m e m b e r s youn g B illy and the oth er F a lk n e r c h ild r e n p la y in g w ith on South S t r e e t - - b e c o m e s a w ild , sp o tte d i b e a st, g e n e ra tin g o th er s of it s kind th a t b e c o m e e p ic a l. In th e th ird , a j h u m an s c a v e n g e r of the M is s is s ip p i R iv e r b o tto m s is ch a n g ed into an j e le m e n ta l h u n ter, s y m b o lic a l of p r im itiv is m and w o rth y of tr ib u te . | Of c o u r s e , F a u lk n er w a s w r itin g fic tio n , and lik e an y oth er w r it e r , alth ough he co u ld u se r e a lity , he w a s not n e c e s s a r ily tie d to it. B ut ! the h ig h d e g r e e s of e x a g g e r a tio n s u g g e s t a ls o th e e m o tio n a l n e c e s s it y of th e c r e a to r to s e e k a b e tte r w o r ld th a n the "s o r r y , sh a b b y " one in j w h ich he had liv e d . Indeed, fo r F a u lk n er the b o y the hunt w a s "a s y m - | b ol of p u r s u it” of so m e th in g fin e r th an the lif e about h im . It w a s not j ; 1 a c q u ie s c e n c e , but ra th e r m o v e m e n t, a ction : the on ly a lte r n a tiv e to lif e is im m o b ility , w h ic h is d e a th . . . . I w a s sim p ly t e llin g so m e th in g w h ich w a s in th is c a s e th e c h ild - - the n e e d , j th e c o m p u lsio n of the c h ild to a d ju st to the adu lt w o r ld .^9 { ita lic s added) B en ea th th e o b v io u s m e a n in g of su ch c o m m e n ts, one c a n s e e r e fle c tio n s : i of F a u lk n e r 's a ttitu d es to w a rd h is lif e as a b oy. B y fu r th e r e x a m in in g ; th e r e a lity of "th e adult w o r ld " w h ich su r ro u n d e d him a t th at tim e , one j ca n b e tte r u n d ersta n d w hy, a s a c h ild --w h e n "I w a s abou t th e age of th at ! j | i C ynthia G r en ie r, "The A r t of F ictio n : A n In terv iew w ith W illia m F au lk -j h e r --S e p te m b e r , 1955," A c c e n t, 1 6 :1 6 7 -1 7 7 , S u m m er 195 6 . ' ■ ^ F a u l k n e r m ad e th is sta te m e n t to co m b in ed c l a s s e s at th e U n i- y e r s it y of V ir g in ia , quoted b y Gwynn in F a u lk n er in th e U n iv e r s ity , [ f S e s s io n T h ir ty -T h r e e ," M ay 8, 1958, p . 2 7 1 . ; ' " ..... 51 lit t le b o y [Isa a c M c C a s lin ] " --F a u lk n e r f e lt th e n e e d and c o m p u lsio n fo r g a th e r in g su ch e x p e r ie n c e s , r e m e m b e r in g th e m , th en la te r e x a g g e r a tin g i i th em to m a k e th em h e r o ic and gra n d , so m e th in g lik e th e Indian and I fa ir y t a le s th at g o t h im out of d oin g d u ll c h o r e s and w h ic h on ce h ad m ad e h is C o u sin S a lly sa y , "Y ou n e v e r kn ew if it w a s th e tru th o r ju st j so m e th in g h e 'd m a d e up." F a u lk n e r la te r sta te d a b a s ic r e a s o n fo r th e : r e n a is s a n c e in S o u th ern w r itin g w ith th e s e w o r d s: I ; i I m y s e lf am in c lin e d to th in k it w a s b e c a u s e of th e b a r e n e s s of the j S o u th e r n e r 's l i f e , th at h e h a d to r e s o r t to h is ow n im a g in a tio n , to c r e a te h is ow n C a r c a s s o n n e . I j W hat w a s th e r e a lit y o f th a t ad u lt w o r ld w h ich p r o v id e d su ch an i i o v e r w h e lm in g m o tiv a tio n fo r c r e a t iv e a s p ir a tio n s ? W hen a s a b o y j ! F a u lk n e r w a lk e d th ro u g h th e c o u r th o u se sq u a r e , th e r e w e r e no A m e r i can f la g s of a n ew in d u s tr ia liz e d n ation , a c o u n try su p p o se d ly u n ifie d ! a fter th e le g e n d a r y b a ttle s o f A m e r ic a n s a g a in s t A m e r ic a n s . T h o se j b a ttle s t h e m s e lv e s , s to r ie d in to g lo r y , w e r e y e t p a r t and p a r c e l of the is o la t e d S o u th ern l if e . B e fo r e th e f ir s t W orld W ar, O x fo rd 's one ; i A m e r ic a n fla g on th e F e d e r a l b u ild in g w a s lo o k e d u p on a s a k in d of in - j tr u s iv e fla u n tin g o f an a n n o y in g p r e s e n t , l e s s r e a l th an th e liv in g p a st. To v iv if y th at p a s t th e r e w e r e th e old m e n w h o s o m e tim e s sp o k e of thej b a t tle s , th e m a id e n s p in s te r a u n ts w ho "had n e v e r su r r e n d e r e d " ; and on| ! . t M e m o r ia l D ay th e r e w a s th e h e r o ic s h a b b in e ss of th e g r a y u n ifo r m s j and o ld b a ttle f la g s . F o r B illy F a lk n e r s p e c if ic a lly , th e o ld C o lo n e l h ad b e c o m e a i ■ . ^ fo r m id a b le g h o st. T he e p ic a l f a c ts of h is lif e had b e e n fo r e s h o r te n e d 40 | Gwynn, F a u lk n er in th e U n iv e r s it y , " S e s s io n S e v e n te e n ," [G raduate C o u r se in the N o v e l, M ay 13, 1957, p. 136. ......................................... ... ' ........ .... ; '........'.. 52 ; I by m e m o r y 's g lo r ific a tio n , and a ll th at r e m a in e d o f th a t g lo r y w e r e j i su ch v is ib le to k en s a s h is d e c a y in g p r o p e r ty in R ip le y , th e r a ilr o a d - - j fo r a tim e c o n tr o lle d by th e old C o lo n e l's son b e fo r e it w a s lo s t - - a n d j th e l i f e - s i z e d sta tu e ab ove a p illa r e d p e d e s ta l, a m o n u m en t that C o lo n e l F a lk n e r had p o se d fo r in Italy w h ile on h is E u ro p ea n to u r .^ The sh a ft ; of sto n e sy m b o liz e d n ot on ly the lo o m in g s e n s e of th e p a st, but a ls o a p a lin g sig n ific a n c e of th e p r e s e n t. The b oy g rew up s e e in g the o ld j j | m a n 's w o r k c r u m b le . W illia m 's own fa th e r, th e o ld e s t ch ild and m o s t ! ob v io u s h e ir of th e fa m ily fo rtu n e, b e c a m e a m e r e con d u cto r and s ta - [ tio n a g en t on th e lin e . B y 1905 th e r a ilr o a d had b e e n a b so rb ed b y the G ulf, M o b ile and N o r th e r n .^ T he a d o le s c e n t W illia m w a s u n d ou b ted ly j a w a re th at h is fa th er h a d gone fr o m b u s in e s s to b u s in e s s , d r iftin g e v e r j i 1 fa r th e r fr o m the old g ra n d eu r. E v en h is d istin g u ish e d gra n d fa th er had ! lo s t c o n tr o l of h is bank to the c le v e r fin a n c ie r fr o m th e b a c k -c o u n tr y , j j | Joe P a r k s . A s v e n e r a b le a fig u r e a s the young C o lo n e l w a s, he e m e r g e d as o n ly a p a le cop y of th e old C o lo n e l.^ In th e d ays of J a c k so n ia n d e m o c r a c y , the old C o lo n el had e n co u n tered a fr o n tie r , m a d e a fo r tu n e , and fou gh t b r a v e ly in tw o w a r s; but now th e r e w e r e no fr o n tie r s to con q u er, no fo r tu n e s to be m a d e in a; la n d w ith ou t p r o m is e , and no w a r s in w h ich to fin d o n e 's g lo r y or ; 41 C oughlan, P t. 1, p. 136. j \ ^ G . T. B u ck ley , "Is O xford the O rig in a l of J e ffe r s o n in W illia m jF au lk n er's N o v els? " P M L A , 76, N o. 4, P t. 1:450, S ep tem b er 1 9 6 1 . Philj ■Stone, " W illiam F a u lk n er, the M an and H is W ork," V ol. 1, N o. 3, p. 4. j ^^C oughlan, P t. 1, p. 134. P h il Stone, In terv iew N o. 1, in d ic a te d |that F a u lk n e r 's attitu d e tow ard h is fa th er w a s r e s p e c tfu l but u n fa m ilia r; jthat h e th ought h is fa th e r w a s d u ll and once r e m a r k e d , "D ad's sq u a r e ." ............ ■ .............. 53 d e s t in y - - a t le a s t , not y e t, alth ough th e r e w e r e ru m b lin g s o v e r th e A t la n tic . A t h o m e the old p la n ta tio n lif e w a s a fad in g m o c k e r y . The day | : ! of th e g r e a t p la n te r w a s gon e. The la n d w a s e ro d in g , and the N e g r o e s , j alth ou gh th ey had b een " freed " b y th e N orth , w e r e a s e n s la v e d a s e v e r to an e c o n o m ic o v e r lo r d w ho w a s a s n a m e le s s a s he w a s n ig g a r d ly , and! w ho s c a r c e ly d is c r im in a te d b e tw een w h ite and b la c k . T h u s, fo r young 4 4 i F a u lk n er the South m u st h ave a p p ea r e d as a kind of w a ste la n d . The j i I I j im p r e s s io n of d ir e e c o n o m ic and s o c ia l co n d itio n s w a s fu rth e r a g g r a - | v a te d by the c o n tr a st w ith the p a st. T he u n scru p u lo u s w e r e r isin g ; th e p r in c ip le d fa llin g . W hat new c o m m e r c ia l a c tiv ity th e r e w a s s e e m e d as j d e s tr u c tiv e a s it w as h e lp fu l, the tim b e r c o m p a n ie s b e in g a good e x a m - j | p ie of th is kind of " p r o g r e s s ." T h ey w e r e ra v a g in g th e e a rth , d ep letin g ! th e old hunting grou n d s, and s c a r r in g th e la n d . W hat w a s th e d iffe r e n c e b e tw e e n the old im m o r a l sy ste m of s la v e r y and th e new a m o r a l g reed ? To F a u lk n er th e new m u st have a p p ea r e d no b e tter th an th e o ld - - w o r s e ,! if anything, fo r it w as d oin g little to b e tte r th e p lig h t of th e p o o r w h ite s j and N e g r o e s. A nd it w a s in im ic a l to th e la n d ’s p r im itiv e b ea u ty and d e s tr u c tiv e to th e su sta in in g m yth o f th e p a st. Y et, the b oy kn ew that h is r o o ts w e r e in th is lan d , and h is lo y a l-; ty , by tu rn s f ie r c e and b e w ild e r e d , w a s s t ill to the r e g io n , e v e n though : ■there w as lit t le lo g ic a l p r o m is e to th e fu tu r e . A lth ou gh he w a s not j R o b ert M. S la b ey , " W illiam F a u lk n er: The ’W aste L and1 ■ p h a s e (1 9 2 6 -1 9 3 6 )," unpub. d is s . (N o tre D am e U n iv e r sity , 1961), a ls o j Ireflects th is o b se r v a tio n but e x te n d s it b eyon d e c o n o m ic d e p r e s s io n in \ th e South. S la b ey ta k e s a s h is s u b je c t th e p e s s im is m of F a u lk n e r 's (w orld v ie w , th e m y th ic a s p e c ts of h is w o rk , and th e e x is t e n t ia lis t o v e r -, ■tones of th e n in e n o v e ls p u b lish ed b e tw e en the tw o d a te s of the t it le . It j is e e m s p e r tin e n t to n ote th at S la b e y 's o r ig in a l t h e s is tit le w a s " E x isten -l Itial T h em es in the N o v e ls of W illia m F a u lk n er." c o n s c io u s of it, h is m o o r in g c a b le s of id e n tity h ad b een cut, and he w a s a d rift so m e w h e r e b etw een the p o r ts of the u n attain ab le p a st and the u n - 45 • I a c ce p ta b le p r e s e n t. B efo re the d ile m m a w a s r e c o g n iz e d - - b e f o r e it i found e x te r n a liz a tio n in r e b e llio n and o u tr a g e --th e boy e v id e n tly sou gh t j i ; v a g u e ly to id e n tify w ith the p a st, in ch ild h o o d g a m e s , ro m a n tic b o o k s, the su b sta n ce o f d a y d r e a m s, and the id e a ls w h ich h e p ro b a b ly attributed; i i to h is g r e a t-g r a n d fa th e r . T h en he b e g a n to w r ite p o e m s, f i r s t g a th er - i ing h is th oughts in the g lo s s y film of n in e te e n th -c e n tu r y R o m a n tic im i- ; t a t io n .^ He la te r quite fr a n k ly a d m itte d that h e f ir s t w ro te p o e tr y "for j the p u rp o se of fu rth e rin g v a r io u s p h ila n d er in g s in w h ich I w a s e n g a g e d ," and se c o n d , "to c o m p le te a you th fu l g e s tu r e I w as th en m ak in g, j 47 ■ of b ein g 'd iffe r e n t' in a s m a ll tow n." A t th is tim e p o e tr y w a s not s o ; | m u ch an u n c o n sc io u s a ttem p t to d is c o v e r h im s e lf and h is p r o b le m s , but j ra th er e s c a p is m it s e lf . A t oth er t im e s w hen h is p u z z le m e n t had b e c o m e I S too con fin in g, h e tu rn ed to th e ou tlet of sp o r ts or sou gh t r e le a s e in h u n t ing w ith the m e n of C o lo n el S to n e's ca m p . B etw ee n th ese e x tr e m e s of r e a c tio n , he w en t on long w a lk s , s o m e tim e s to T h om p son L a k e, and s o m e tim e s to a h ills id e o u tsid e O xford w h ere h e w a tch ed th e flig h t of am not im p ly in g th at F a u lk n er e v e r c o n s c io u s ly d efin ed h is j p r o b le m s of id e n tity , i.e ., p s y c h o lo g ic a lly th rou gh s e lf - a n a ly s is , but he j a p p a ren tly did la te r " e s th e tic a lly a n a ly ze" h im s e lf by p r o je c tin g h is id e n tific a tio n s in to art fo r m . See D a n iel E . S c h n eid er , M .D ., The P s y - j th o a n a ly s t and th e A r tis t (N ew Y ork, 1950), pp. 1 1 0 -1 1 1 . j ■ " " ' _ _ i r . - j ! ^ W a g g o n e r , p . 268, e s p e c ia lly r e la te s h is o b se r v a tio n to the ; p o e m s of The M a rb le F a u n . See C hs. Ill-IV of th is d is s e r ta tio n fo r fu rth e r c o m m e n ts on F a u lk n e r 's u se o f R om an tic in flu e n c e s. i : ^ I n " V e r s e Old and N a scen t: A P ilg r im a g e ," S a lm a g u n d i, p. 35. AO e a g le s fr o m the tow n. H is ch ild h o o d a d v en tu re w ith h o m em a d e w in g s had done lit t le to d isc o u r a g e h is in t e r e s t in fly in g . B y 1916, he h ad j s e e n an " a ero p la n e" and h is m in d w a s en ch a n ted w ith th e n a m es of " B a ll, and Im m elm a n [ s i c ] and B o e lc k e , and G u yn em er and B ish o p . 49 . . ." One of F a u lk n e r 's p o e m s e n title d " B oy and E a g le " ly r ic a lly r e c a p itu la te s h is m o o d at the tim e: O nce upon an a d o le s c e n t h ill T h ere la y a la d w ho w a tch ed a m id th e p ile d And s ilv e r sh a p e s of a ir c a rv e d cu m u lae A lo n e u n c le a v in g e a g le , and th e s t ill S e r e n e ly b lu e d is s o lv in g of d e s ir e . E a se fu l v a lle y s of th e e a rth had been: he lo o k ed not b ack , N ot down, he had not s e e n L u sh la n e s of v e r n a l p e a c e , and g r e e n U nebbing w in d le s s tid e s of tr e e s ; no w h e e lin g gold Upon the la m p lit w a ll w h e r e is no sp eed Save th at w h ich p e a c e fu l tongue 'tw ix t bed and su p p er w rou gh t. H ere s t ill th e b lu e, th e h ead lan d s; h e r e s t i l l he Who did not w ak en and w a s not aw aked. The e a g le sp ed its lo n e ly c o u r se and tall; W as gone. Y et s t ill upon h is lo n e ly h ill th e lad W inged on p a s t ch an gin g h ea d la n d s w h ere w a s lak ed The co n sta n t blue 48 M is s is s ip p i: A Guide to the M a g n o lia S ta te, F e d e r a l W r ite r s' P r o j e c t (N ew Y ork, 1938), p. 141. i ^ " F o r e w o r d ," The F a u lk n er R e a d e r , p. x. A lb e r t B a ll (1 8 9 6 - 1 9 1 7 ), a B r itis h f ly e r , sh o t dow n 38 en em y p la n es b y M ay, 1916; M ax jlm m elm an n (1 8 9 0 -1 9 1 6 ), a G erm a n p ilo t, d ev elo p ed th e fa m o u s m a n eu v e r know n a s the " Im m elm an n turn"; O sw a ld B o elck e (1 8 9 1 -1 9 1 6 ), a lso jG erm an, w a s c r e d ite d w ith 40 v ic to r ie s ; G e o r g e s G u yn em er w a s th e le a d in g F r e n c h a irm a n ; and W illia m A v e r y B ish op , a C anadian, w a s c r e d ite d w ith sh o o tin g down 72 e n e m y a ir c r a ft . B ish o p p u b lish e d such c o lo r fu l a r t ic le s a s " T a le s of th e B r itish A ir S e r v ic e ," N a tio n a l G eo g ra p h ic M a g a zin e, 3 3 :2 7 -3 5 , J a n u a ry 1918. i A n d sa w th e f le e in g c a n y o n s of th e s k y ] T ilt to b a n s h e e w ir e and s la n te d a ile r o n , A n d h is o w n lo n e ly sh a p e on sc u d d in g w a lls \ W h ere h a r p th e c e a s e l e s s th u n d e r s o f th e su n . j 1 i : j T h e v is io n o f g lo r y w a s u p on h im , and h e w a s d r e a m in g o f b e c o m in g a b e r ib b o n e d h e r o in a r e m o te w a r fo r w h ic h h e c o u ld o n ly y e a r n a n d w a it. 50 T h e p o e m f i r s t a p p e a r e d a s A G r e e n B o u g h , X V III (N ew Y o rk , 1 9 3 3 ), p . 4 0 . It w a s r e p r in te d in M is s i s s i p p i V e r s e , ed . A lic e J a m e s (C h a p el H ill, 1 9 3 4 ), a lo n g w ith s e v e r a l o th e r p o e m s fr o m A G r e e n B o u g h : X V I, X X X V , X IX , X L IV , X X , an d X IV , p p . 3 1 -3 5 . CHAPTER III M A EC E N A S A N D MARS: PO R T R A IT IN M A R B L E Both the fa m o u s C olon el F a lk n e r and P h il S ton e's g ra n d fa th er, M ajor P h ilip A ls to n S ton e, had s e r v e d to g eth er in the C iv il W ar and fought under Forrest.'*' T he two f a m ilie s knew e a c h oth er in the y e a r s that fo llo w e d , s o th e r e w a s a w e a lth of b ack grou n d w hich youn g B illy F a lk n e r (s i c ) and P h il S ton e had in com m on . A s th ey g r ew into m a n - ! hood, th ey to o k w a lk s to g e th e r about O xford and th e su rro u n d in g c o u n tr y s id e . O ften th ey s t r o lle d w e stw a r d on U n iv e r sity A v en u e, took th e ir j w ay arou n d U n iv e r sity C ir c le and th e cam p u s, and w ent n o rth -ea stw a rd ;' th rou gh the w o o d s along a ditch le a d in g to the a n c e s tr a l h o m e of the j I I \ ■ y i S ton es on C o lle g e H ill R oad. F o r a sp e c ia l tr e a t, w hen f r e s h ly grou n d J flo u r w a s a v a ila b le , th e tw o young fr ie n d s w o u ld take a p a n fu ll a c r o s s j the w a y to a n eig h b o r, h a v e a lo a f b ak ed , and r e tu r n o v er a b rick w a ll to s it upon the s te p s of a w e ste r n sid e p o r c h and ea t the h o t bread. S o m e tim e s th ey r e tir e d to Stone's u p sta ir s r o o m in the r e a r of the I * R o b ert C ouglan , "The P r iv a te W orld o f W illiam F a u lk n er," | L ife , P t. 2 (O cto b er 5, 1953), p. 57. P h il S ton e, in te r v ie w e d b y m e (O xford, M is s is s ip p i) , 10 A .M ., j jjuly 28, 1962. The s t r e e t is now n a m ed W ash in gton A v en u e. The v e - | Srandaed m a n sio n , alon g w ith m o st o f S ton e's sp len d id lib r a r y and s o m e | jof F a u lk n e r 's o r ig in a l m a n u s c r ip ts, w a s d e s tr o y e d by f ir e o v er tw o i d e c a d e s ago, but the r u in s are s t i l l th e r e . T h is seco n d in te r v ie w w ith Stone, w h ich to o k p la c e on the g r o u n d s, w ill b e d e sig n a te d in fu rth er r e f e r e n c e s a s In terv iew N o. 2. 57 h o u se w h e r e th e y d is c u s s e d lit e r a t u r e and p e r u s e d P h il's lib r a r y , p a r t ic u la r ly the f i r s t e d itio n s of th e n e w ly e m e r g in g A m e r ic a n w r it e r s j j ! w h ich S ton e c o lle c t e d . "If I th ou gh t th e w r it e r h ad r e a l p r o m is e ," he j to ld m e , "I w o u ld s o m e tim e s g e t tw o f i r s t e d itio n s." B y 1914, w h e n F a u lk n er w a s s e v e n te e n , Stone h ad a lr e a d y c o m - | p le te d a d e g r e e at Y ale and w a s stu d y in g la w at the U n iv e r s ity o f M is s is s ip p i. H is e d u c a tio n a l e x p e r ie n c e s , h is a d d itio n a l fo u r y e a r s of a g e , i I j alon g w ith h is n a tu r a l p r e c o c it y and lit e r a r y in t e r e s t s , m a d e h im th e ! te a c h e r and F a u lk n e r the stu d en t. T od a y Stone sp e a k s of h a v in g tau gh t j I , I F a u lk n e r g r a m m a r o r a lly : " L iste n to th is se n te n c e n ow . W hen y o u c o m e to th e p a u se , y ou put in a m a r k lik e t h is - - " in d ic a tin g a c o m m a on | h is d e s k w ith an in d e x fin g e r . Stone la u g h s g o o d -n a tu r e d ly and adds q u ic k ly , "But h e c o u ld u se w o r d s fin e . A n yon e co u ld s e e th at h e had ta le n t." ^ j T h ey d is c u s s e d th e h e y d a y s of th e p a s t, the d e c lin e of th e old w a y of lif e , and th e r is e of th e n ew . S tone w a s m o r e in t e r e s t e d in the i C iv il W ar fr o m a h is t o r ic a l p o in t of v ie w , w h ile F a u lk n er s e e m e d s a t is f ie d to lis t e n to lo c a l le g e n d s - - h e r o ic a n e c d o te s , " s m a r t - c r a c k s ," and t a ll t a le s . B y b len d in g h is ow n id e a s w ith S to n e 's he a p p a ren tly , w ith o u t b e in g c o n s c io u s of it a t the tim e , c o lle c t e d a m a s s of m a t e r ia l fr o m w h ic h m a n y of h is la te r s t o r ie s and n o v e ls e m e r g e d . S p e c ific a lly ,! ; | th e S a r to r is e p is o d e s , and m o s t c e r ta in ly th e S n op es m a t e r ia ls , j > I i ^ j In te r v ie w e d by m e (O xford , M is s is s ip p i) , 2:30 P .M ., J u ly 27, 1 9 6 2 . T h is in te r v ie w to o k p la c e in h is la w o ffic e , 1013 J a c k so n A venue.; [F u rth er r e f e r e n c e s to th is c o n v e r s a tio n w ill be in d ic a te d by In te r v iew ■No. 1. 4 ' d e v e lo p e d fr o m the ta lk s w ith Stone o v e r th e se and fo llo w in g y e a r s . j A n oth er fe llo w to w n sm a n of S ton e, W illia m M cN eil ("M ack") j | i R eed , r e m e m b e r s the c lo s e n e s s of S ton e and F a u lk n e r 's fr ie n d sh ip j d u rin g th e s e e a r ly y e a r s , f i r s t w hen h e w as a stu d en t h im s e lf at Ole M is s . " B ill F a u lk n er and P h il Stone w e r e c o n sta n tly to g e th e r ." A n a - j tiv e of H oulka, M is s is s ip p i, in C h ick a sa w C ounty, M r. R e ed m o v e d to O xford in 192 3, w h e r e h e w en t into p a r tn e r sh ip w ith a D r. G ath righ t to fo r m the G a th rig h t-R e e d D rug S to re. "In th e ir sp a r e h o u r s th ey i r o a m e d a ll o v e r th is c o u n tr y sid e to g e th e r ." R e e d sp ea k s of F a u lk n e r 's; j d eep a ffe c tio n fo r c h ild r e n and how , on one p a r tic u la r o c c a s io n as a b oy, h e sp en t m a n y h o u rs w ith a lit t le g ir l w ho w a s " a fflic ted ," d raw in g p ic tu r e s and le a v in g th em w ith h er, te llin g h e r f a ir y ta le s and rea d in g h e r h is rh y m es.^ Of the d a y s b efo re W orld W ar I, P h il S tone r e m e m - ! b e r s so m e th in g of F a u lk n e r 's p o e tic fa n c ifu ln e s s : W e w e r e "hep" on t r e e s . One sp r in g day w e w e r e out in the cou n try C oughlan, The P r iv a te W orld of W illia m F a u lk n er (N ew Y ork, j 1954), pp. 4 9 -5 0 . N o tice F a u lk n e r 's d e d ic a tio n s of the S n o p es n o v e ls: The H a m let and The M a n sio n rea d , "T o P h il Stone"; The T ow n r e a d s, "T o P h il Stone / He did h a lf the la u g h in g for th ir ty y e a r s ." F a u lk n er j a ls o gave a m a n u sc r ip t of T he H a m let to S to n e 's so n in s c r ib e d , "T o My.I G od son , P h ilip A lsto n Stone / M ay h e b e fa ith fu l / fo rtu n a te, and b r a v e /I W illia m F a u lk n er / X m a s 1945 / O xford , M is s ." (Stone, In te r v iew N o. 1).| J a m e s B. M e r iw e th e r , T he L ite r a r y C a r e e r of W illia m F a u lk n er j !(P rin ceton , 1961), p. 29, n o te s the s a m e m a n u sc r ip t, a p p a re n tly , a s a I"Bound ca rb o n ty p e sc r ip t" of The H a m let in tw o v o lu m e s , le n t by P h il S tone for th e F a u lk n er e x h ib itio n in th e P r in c e to n U n iv e r sity L ib r a r y , M a y -A u g u st, 1957. C o n cern in g Stone and F a u lk n er he ad d s th at th e tw o| |"w orked up m a n y of th e e v e n ts of th e Snopes s t o r ie s in t a ll ta le s . . . jtold ea ch o th er in the la te 1 9 2 0 's." B ut Stone, In terv iew N o. 1, to ld m e th a t the s t o r ie s had b egu n "as lo n g a g o as W o rld War I," and had c o n tin u e d th rou gh ou t the y e a r s , a s r e c e n tly as " ju st b efo re T he R e iv e r s ." j ^ In terv iew ed by m e (O xford, M is s is s ip p i) , 10 A .M ., Ju ly 27, j l 962. M rs. C a lv in S. B row n of O xford told M r. R eed about the in c id en t; iof th e a fflic te d ch ild . about fo u r m ile s fr o m town., and the w o o d s w e r e ju st a liv e w ith d o g w o o d --w h ite , brillian t'. I s a id so m e th in g to B ill about th e t r e e s lo o k in g lik e g ir ls , and he n od ded and th ought fo r a m in u te and sa id : "3f I w e r e God, in th e sp r in g e v e r y b lon d e g ir l w ou ld h a v e an a p p le - ' g r e e n d r e s s ." (In terv iew N o. 1) B y 1918 Stone h ad r etu r n e d to N ew H aven fo r a sec o n d law d e - j g r e e , a m o v e c o n s is te n t w ith h is fa th e r 's w is h fo r h im to g a in the ad - ; v a n tage of both a so u th er n and n o rth er ed u ca tio n . In the m e a n w h ile , F a u lk n er h ad fa ile d to g e t in to th e A r m y A ir C orp s b e c a u se he w a s too sh o r t and un d erw eigh t.^ Stone fe a r e d th a t h is fr ie n d m ig h t b e c o m e r o m a n tic a lly in v o lv ed at h o m e and fe lt th a t if he got m a r r ie d so so o n "it j j w ou ld be th e end of B ill as a w r ite r ." He o p p o rtu n ely le a r n e d th at th e | R o y a l C anadian A ir F o r c e w a s in n eed of ca d ets and th at F a u lk n er c o u ld p ro b a b ly m e e t the p h y s ic a l sta n d a r d s. T h u s, he u rg ed h is fr ie n d to co m e to N ew H aven. F ro m M a rch th rou gh M ay of 1918, F a u lk n er sh a r ed S to n e 's q u a r te r s and w a s e m p lo y e d at the W in c h e ste r a r m s fa c - I 7 ! to r y . A m u tu a l fr ie n d a ttem p ted to te a c h th em both to sp e a k w ith a I B r itis h a c c e n t, but th ey had d iffic u lty , in S to n e's w o r d s, " r o llin g our j i r ' s " (In terv iew No. 1). T h ese le s s o n s tu rn ed out to be a la r k fo r the j youn g m en , e s p e c ia lly fo r S ton e, w ho n e v e r jo in ed the R C A F. F a u lk n er j w a s a c c e p te d w ith ou t h avin g to r e s o r t to the r u se of p r e te n d in g B r itis h I citiz en sh ip .^ i j L C oughlan, P t. 2, p. 57. S ton e, In terv iew N o. 2, s a id th at F a u lk n e r as a m a n w a s f iv e - f e e t - f iv e - in c h e s ta ll. O 'C onnor, W illia m F a u lk n e r , p. 5, a ls o g iv e s F a u lk n e r 's h eig h t a s fiv e f e e t fiv e , and adds th at |he w a s u n d erw eig h t. ^C oughlan, P t. 2, p. 57. S tone, In terv iew N o. 1, o ffe r e d th e in - | fo r m a tio n on F a u lk n e r 's r o m a n tic in v o lv e m e n t. | ^ C oughlan, P t. 2, p. 57. j M uch in a c c u r a te , c o n tr a d ic to r y in fo r m a tio n h a s b e e n w r itte n abou t F a u lk n e r 's s e r v ic e r e c o r d . M a x w e ll G e ism a r in th e L ite r a r y H is to r y of th e U n ited S ta te s d e c la r e s th a t "he jo in e d th e C an ad ian F ly - 9 in g C orp s and s e r v e d w ith th e R .A .F . in F r a n c e ." P r o f e s s o r A rth u r W ig fa ll G r ee n w r o te : A lth o u g h h e h a s tw o e n e m y p la n e s to h is c r e d it and s e v e r a l tim e s b a r e ly e s c a p e d d ea th , he s a y s , w ith th e c u s to m a r y a ttem p t to sc o ff at th e h e r o ic , th a t h e c r a s h e d tw ic e , c o s t in g the B r itis h g o v e r n m e n t m o r e th a n fo u r th o u sa n d pounds.-*-® In a b io g r a p h ic a l n o te B e r n a r d in e K ie lty sta te d , "A t th e o u tb r ea k of W o rld W ar I, F a u lk n er jo in e d th e C an ad ian a ir f o r c e , had tw o p la n e s sh o t dow n u n d er h im in F r a n c e , and w a s w o u n d e d ." ^ A lfr e d K a zin w r o te th a t a fte r F a u lk n er r e tu r n e d to O x fo rd fr o m h is e x p e r ie n c e s w ith th e C an ad ian and B r itis h A ir F o r c e s , h e " r e c o v e r e d fr o m a w a r w ound. 12 . . ." O th er s c h o la r s h a v e a ttem p te d to a v o id a p p a ren t c o n flic ts by e v a d in g a s m u c h a s p o s s ib le an y m e n tio n of F a u lk n e r 's w a r a c t iv it ie s . W illia m V an O 'C on n or c o m m e n te d th at h e jo in ed th e " ro y a l F ly in g C o rp s in T o ro n to , C anada, a s a ca d et," an d "On D e c e m b e r 2 2 , 1918, th e 13 d a te o f d e m o b iliz a tio n , h e b e c a m e an h o n o r a r y s e c o n d lie u te n a n t." It i s g e n e r a lly know n th a t F a u lk n er co n tin u ed to le n d c r e d e n c e to e x tr a v a g a n t s ta te m e n ts ab ou t h is p a r t in W orld W ar I. L a u r en ce ^ R o b ert E . S p ille r an d o th e r s , e d s ., "A C y c le of F ic tio n ," S ec. 7 7 , P t. 5 {N ew Y ork , 195 9 ), p . 1304. 10"W iH iam F a u lk n er a t H om e," p . 300. ^ A T r e a s u r y of S h o rt S to r ie s (N ew Y ork, 1 9 4 8 ), p- 8 0 3 . ^ On N a tiv e G rounds (N ew Y ork , 1956), p . 3 5 1 . ^ W illia m F a u lk n e r , p . 5. 62 S ta llin g s spoke b la n d ly of th e le g en d in th e s e w o rd s: He [F a u lk n er ] s a t dow n o n ce and to ld m e th e d a m n e d e st sto r y . A ll about how h e 'd b een in th e C anadian A ir F o r c e , and w a s fly in g in F r a n c e , and c r a s h e d and got w o u n d e d --a ll in g r e a t d e ta il. . . . L a te r on I found out h e had n 't e v e r b een o v e r s e a s during th e w a r , and th e on ly tim e he e v e r w a s "wounded" w a s w h en h e so lo e d up in C anada to w a rd th e en d of the w a r . Now w h y did h e w an t to s it dow n th e r e and b o th er about te llin g m e th at d am n ed l i e ? ^ F a u lk n er h im s e lf cou ld p r o v e e v a s iv e w h en q u estio n ed on th e su b jec t. W hen a sk ed , "W hat e ffe c t did the R C A F h ave on you?" h e o n ce an sw e r e d , I s t ill lik e to b e lie v e I w a s tough en ou gh th a t it didn't h u rt m e to o m u ch . It did n’t h elp m u ch . I hope I h a v e liv e d down th e h arm it d id m e . . . . A ll w e did w a s p r a y the p la n e d id n 't burn up. W e didn't h a v e p a r a c h u te s. N ot m u ch c h o ic e . W orld W ar II m u s t h ave b e e n to u g h er. But w h e r e F a u lk n er on ly su g g e ste d , o th e r s f ille d in th e a p p r o p r ia te ly c o lo r fu l d e ta ils; th u s, th e q u otation ab ove is fo llo w e d by e ith e r the a u th o r 's or an e d ito r 's r e s o u r c e fu l note: "M r. F a u lk n er h ad both le g s 15 b rok en in a p la n e c r a s h in W orld W ar I." C ough lan h a s p erh a p s co m e c lo s e r to th e truth: A c tu a lly h is c o m m is s io n w a s m ad e e ffe c tiv e on ly a fte r h e had r e tu rn ed to O xford a fte r th e w a r . H is wound c o n s is te d of a le g in ju r y su ffe r e d w h en he and a n o th er ca d et p ilo t got drunk on A r m is tic e D ay, stu n ted a p la n e o v er the fie ld and la n d ed u p sid e dow n th rou gh a h a n g ar ro o f. (P t. 2, p. 57) Y et e v e n h e r e th e fa c ts s e e m too e a s y and the h in ts of o verstatem en t too str o n g . The r e fe r e n c e to h is "wound" is g e n e r a l, no o ffic ia l r e c o r d of h is tr a in in g in C anada is quoted, and th e o th er ca d et p ilo t is not nam ed; in c o n tr a s t to th e s e v agu e p o in ts, h o w e v e r , the c ir c u m s t a n c e s ■^In an in te r v ie w by th e F u lle r to n J u n ior C o lle g e L ite r a r y C lub , r e c o r d e d by m e (F u lle r to n , C a lifo r n ia ), 8:00 P .M ., J a n u a ry 22, I9 6 0 . 15 L avon R a sc o e , "An In terv iew w ith W illia m F a u lk n e r ," p. 3 0 3 . 63 under w h ic h the "wound" w a s r e c e iv e d a r e g iv en in c o lo r fu l d e ta il. W hat i s one to e x p e c t from a m a n about w hom h is ow n C o u sin S a lly c o m m e n te d , "It g o t s o that w h e n B illy to ld you so m e th in g , you n e v e r knew if it w a s th e tru th or ju s t so m e th in g h e 'd m a d e up?" In any s ta te m en t of " fact," F a u lk n e r 's h a b it of m in d m u st be c o n s id e r e d . F o r h im , fa c t and fic tio n w e r e a lw a y s q u ick to m in g le and, a p p a ren tly , to o f a s c i n atin g to s e p a r a t e d W h a tever h is tra in in g e x p e r ie n c e s in C anada in the f a ll of 1918, both he and Stone w e r e back in O xford by C h r istm a s E v e. C o n cern in g F a u lk n e r 's c o m m is s io n and "w ar w ound," Stone s a id T h ere w a s so m e ta lk about a s ilv e r p la te in h is h ea d , but I n e v e r b e lie v e d it. I w a s w ith him o n the tw e n ty -fo u r th of D e c e m b e r w h en he got h is p ip s in th e m a il. T he r e a s o n I r e m e m b e r is th at it w a s C h r istm a s E v e . A s far a s I cou ld s e e he w a sn 't in ju red at a ll. (In te r v ie w No. 1) If F a u lk n er w a s in d eed in ju red in an A r m is t ic e D ay c r a s h , w ith in s ix w e e k s h e had r e c o v e r e d s u ffic ie n tly th at h is b e st fr ie n d did not n o tic e any in ju r y at a ll. M o r e o v e r , F a u lk n er d id not ta lk about it w ith Stone. W eigh in g a ll the e v id e n c e and a llo w in g th e g r e a t e s t w e ig h t to S to n e's s ta te m e n ts , one m ig h t su m m a r iz e F a u lk n e r 's w a r e x p e r ie n c e s a s d e fi n ite ly " s ta te s id e ." He m a y or m a y not h a v e b een in v o lv e d in a c r a s h of so m e s o r t w h ile in flig h t tr a in in g in C anada. If h e w a s h u rt, it w a s an in ju ry of a m in o r s o r t. One sh o u ld be sk e p tic a l about th e w h o le m a tte r 16 l F a u lk n er sta ted th a t th e w r ite r a v a ils h im s e lf of th r e e s o u r c e s , " im a g in a tio n , o b se r v a tio n , and e x p e r ie n c e ," and about th em r e m a r k e d , "He h im s e lf d o e s n 't know h ow m u ch of w h ich h e u s e s a t an y ; g iv en m o m en t b e c a u s e ea ch of th e s o u r c e s th e m s e lv e s a r e not to o im p o rta n t to h im ," in F au lk n er in the U n iv e r s ity , ed . F r e d e r ic k L . G wynn : and J o se p h L. B lo tn e r (C h a r lo tte s v ille , V ir g in ia , 195 9 ), " S e s sio n T h ir teen ," A p r il 30, 1957, p. 103. F o r a r e la te d p oin t s e e m y a r t ic le , " F a u lk n er, A n d er so n , and T h e ir T a ll T a le ," A m e r ic a n L ite r a tu r e , 34, 64 u n til th e F a u lk n er fa m ily is w illin g to r e le a s e h is w a r r e c o r d or to o f- 17 fe r o th er e v id e n c e to c la r if y the c o n fu sio n o v e r th is a s p e c t of h is lif e . The d is c r e p a n c ie s b etw een w h at F a u lk n er w ou ld h a v e h ad o th ers b e lie v e about h is m a r tia l e x p lo its , and the w id e ly c o n tr a d ic to r y r e p o r ts c o n c e r n in g h is p a r t in th e w a r, r e v e a l in te r e s tin g p e r s o n a l a ttitu d es d u rin g th is p h a se of h is lif e . S ta llin g s' q u estio n , "Now w hy did h e w ant to s it dow n th e r e and b o th e r about te llin g m e th at d am n ed lie ? " h a s in one fo r m or a n o th er p a s s e d the m in d s of m a n y F a u lk n er s c h o la r s . C ough lan sta te d that F a u lk n e r 's n o t h avin g s e e n a c tio n w a s "a g r e a t d isa p p o in tm en t to h im ," fo r "He had y e a r n e d fo r p e r s o n a l co m b a t, for an o p p o rtu n ity to e m u la te th o se v a lo r o u s a c tio n s of th e le g e n d a r y past" (P t. 2, p. 57). He e x p r e s s e d h is ow n en ch a n tm en t w ith the n a m e s of su ch a e r ia l h e r o e s as B a ll, Im m elm a n n , B o e ic k e , G u yn em er, and B is h op. H e had w a tch ed th e flig h ts of e a g le s fr o m a h ills id e o u tsid e O xford and d r e a m e d of b ein g d e c o r a te d fo r v a lo r . Such a c o n su m m a tio n w ould have im p r e s s e d e v en th e old C o lo n el. M ore than th at, it w ou ld h ave b rou gh t p r e s e n t-d a y s ig n ific a n c e to the life of a so u th er n b oy w ho had p r e v io u s ly b e e n able to fin d r e a l m ea n in g o n ly in the p a st. The fo r c e of p a st, t h e n - - S ou th ern tr a d itio n , e s p e c ia lly of th e e x tr a v a g a n t F a lk n e r v a r ie t y - - sh ou ld n e v e r b e u n d e r e stim a te d in a ttem p tin g to u n d ersta n d N o. 2 :2 8 7 -2 9 1 , M ay 1962. 17 T h ere is lit t le lik e lih o o d th at the fa m ily w ill c la r ify th is m a t te r o r any o th e r s . A t th e tim e of m y te le p h o n e c o n v e r s a tio n w ith John ; F a lk n e r (O xford , M is s is s ip p i) , 7:45 P .M .,. J u ly 26, 1962, he w a s c l o s e m o u th ed about h is b r o th er and h im s e lf: " T w en ty -fiv e or th ir ty y e a r s ago m y b ro th er and I m ad e an a g r e e m e n t not to d is c u s s our w o rk o r e a ch o th er." M iss D oroth y Z o llic o ffe r O ldham , F a u lk n e r 's s is t e r - in - la w , a ls o r e fu se d to d is c u s s any a s p e c t of F a u lk n e r 's lif e (U n iv e r sity , M is s is s ip p i) , 9:00 A .M ., J u ly 26, 1962. 65 F a u lk n e r 's m o tiv a tio n s and a ttitu d e s. W ard L . M in er h a s n o ted in h is v is it to O xford th at, a fter th e to w n sp e o p le tu rn ed out th e ir lig h ts "and m id n ig h t had p a s s e d ," he w a s 18 aw are of "a m ia s m a - lik e p a st p e r v a d in g the tow n." T h is kind of o b s e r v a tio n is a d r a m a tic illu s tr a tio n of the fo r c e of p a st, w h at F a u lk n er "w as sa tu r a te d w ith ," th at is , th e s t o r ie s , c h a r a c te r s , and v a lu e s of the old e r a . It w a s n ot on ly im p o s s ib le , but m u st h a v e b een fr u s tr a tin g to tr y to id e n tify w ith th e g lo r ie s of the p a st, e s p e c ia lly th o se of h is g r e a t g ra n d fa th er, of w h om he w a s th e n a m e sa k e . A s a boy he h ad tr ie d to liv e in a n o r m a l r e la tio n s h ip w ith o th er c h ild r e n in O xford. L a te r, he had a ttem p ted to e s c a p e w hat m ig h t be te r m e d "the o b lig a tio n of p a st," but e v e r y th in g the s e n s it iv e b o y s a w - -th e co u rth o u se and its C o n fed er- 19 ate m o n u m en t, th e s t r e e t s w ith m n em o n ic h o u s e s , and th e r itu a lis t ic h u n ts --w e r e a s s o m a n y a r r o w s p o in tin g b a ck w ard in tim e . H is e s c a p e w a s cu t off, fo r in h is blood ra n the b lo o d of th o se w ho c a m e b e fo r e h im . In h is th o u g h ts, h is e m o tio n s , the v e r y g e s t u r e s of h is body, w h eth er he w ill o r no, m o v e s m illio n s of u n c o n sc io u s r e f le c tio n s of the la n d w h ich gave h im b irth . .20 If he cou ld not e sc a p e h is p a st th en , p erh a p s he co u ld c o m p e te w ith or r e c a p tu r e it, p o s s ib ly e x c e e d it w ith a brand of d e r r in g -d o a ll h is ow n. He m u st h a v e fe lt that the fo rtu n e of the F a lk n e r s had c o m e ^ T h e W orld of W illia m F a u lk n e r , p. 15. 1 Q The c u r r e n t "Tour of P r e - C iv il W ar H om es in O xford, M is s is s ip p i," p u b lish e d by the O x fo r d -L a fa y ette C ounty C h am b er of C o m m e r c e , l i s t s tw en ty su ch h o m e s , tw o of th em ow ned by m e m b e r s of the F a lk n e r fa m ily . 2®Stone, " W illia m F a u lk n er, th e M an and H is W ork," O xford M a g a z in e , V ol. 1, N o. 2 (1934), p. 11. fu ll c ir c le . The d e s c e n d a n ts of th e old C o lo n el s e e m e d to b e a s s o 21 m a n y e v e r d im m in g c o p ie s . F a u lk n e r 's g e n e r a l attitu d e to w a rd h is fa th e r ca n be s e e n in the r e m a r k he o n ce m a d e to P h il S ton e, " D ad 's 22 s q u a r e ." N ow th e r e w a s h e , h im s e lf , and th e o b lig a tio n to p a s t m u s t h a v e s e e m e d k e e n e r than e v e r . If e v e r a F a lk n e r w a s to r e c a p tu r e th e g ra n d eu r of the o ld C o lo n e l's e x p lo its , th en th e tim e h ad c o m e . T he op p o r tu n ity w a s t h e r e . D u rin g h is flig h t tr a in in g in C anada, he c o u ld a l m o s t s e e the n e x t step to h e r o is m . T h en, ju s t a s h op e w a s h ig h e s t, th e A r m is t ic e ca m e and the o p p o rtu n ity w a s n e v e r f u lf ille d .- To a n sw e r th e "W hy?" of S ta llin g s' e x a s p e r a te d q u e stio n , th en , F a u lk n er s im p ly im p r o v is e d th e r o m a n tic e x p lo its w h ich c ir c u m s t a n c e s h ad d e n ie d h im . He w as n o t on ly d isa p p o in ted , but he p ro b a b ly f e lt c h e a te d by F a te . Im a g in a tio n w a s h is r e s o u r c e , and it su p p lie d th e v a cu u m of r e a lit y w ith th e m a r tia l h e r o ic s ab ou t w h ich h e had d r e a m e d s o lo n g and fe r v e n tly . T he a lm o s t d e s p e r a te p s y c h o lo g ic a l n eed fo r th is k in d of r e c o g n itio n c o m b in e d w ith im a g in a tio n and c ir c u m s t a n c e to f o is t upon the p u b lic a ta n g le d m a s s of p a rt tr u th s and in v e n tio n s . F a u lk n e r 's attitu d e to w a rd h is m ilit a r y e x p e r ie n c e in th e s e e a r ly y e a r s s e e m s to have b e e n by tu rn s m o o d y , m e lo d r a m a tic , and f a n c i fu l. Joh n C u llen r e p o r te d a n in c id e n t to ld to h is fr ie n d W alton M ille r , ^ C ough lan , "T he P r iv a te W orld of W illia m F a u lk n er ," L if e , P t. 1 (S ep te m b e r 2 8 , 1953), p . 134, w r ite s of th e you n g C o lo n e l, "He w a s C h iv a lro u s, h o n o ra b le and b r a v e , but fo r a ll th a t, h e w a s b y no m e a n s th e m a n h is fa th e r [the o ld C o lo n e l] h ad b een ." Of F a u lk n e r 's fa th e r , M u rry , h e w r it e s , "He w a s a kind, g o o d -h u m o r e d m a n w h o m ad e a l i v in g and had s o m e a d m ir a b le q u a litie s . On th e o th er hand h e w a s n ot Cven a p a le c a r b o n of h is g r a n d fa th e r . ..." 22 I n te r v ie w No. 1. F o r a fu lle r c o n te x t of the s ta te m e n t, s e e p h . II, n. 43. 67 know n a s "U ncle Bud," of F a u lk n e r 's r e tu r n fr o m the w a r . He ch a n g ed tr a in s at H o lly S p rin g s, lo c a te d tw en ty m ile s n o r th of O xford , and w a s sta n d in g as s t i l l as a sta tu e in th e r a ilr o a d d ep o t. The e n g in e e r c a m e by and sto p p ed and lo o k ed a t h im . W illia m w as ju s t stan d in g th e r e fla t-fo o te d , p ayin g no a tten tio n to anybody or an yth in g. He w a s th in k in g about so m e th in g e ls e b e s id e s h is su r r o u n d in g s. A fter a w h ile he m o v e d a lit t le , and th e e n g in e e r r e m a r k e d , "D am n ed if it a in 't a liv e ." W hen W illia m h ea rd th a t r e m a r k , he p r e te n d e d he h a d n ot. He n e v e r sa id a w o r d to the e n g in e e r , and the e n g in e e r n e v e r s a id a w ord to h im .^ M o st im a g in a tiv e e x te n s io n s of h is flig h t tr a in in g w h ich found th e ir w a y into lit e r a r y fo r m a re w e ll-k n o w n . T he h o r r ib ly s c a r r e d D onald M ahon of S o ld ie r s' P a y (1926) r e tu r n s w ith d is illu s io n e d fr ie n d s to h is h o m e tow n in the South. He is s o bad ly w ou n d ed th at h e is h a r d ly c o n s c io u s of the w ea k en in g lif e in h is b od y, and h e d ie s r e m e m b e r in g "the one tro p h y he h ad r e ft fr o m T im e and S p ace," f ir in g the m a ch in e gun s of h is p la n e "into th e bland m o rn in g m a r b le d and im m in e n t w ith M a rch ." In S a r to r - is , you n g B a y a rd , c u r se d w ith the m e m o r y of h is b r o th e r 's b a ilin g out d u rin g a d ogfigh t w ith the G erm a n s, r e tu r n s h o m e to d r iv e h is ca r w ild ly o v e r the M is s is s ip p i c o u n tr y sid e . H e m e e ts an in e v ita b le doom w h en he b u c k le s th e w in g s of an e x p e r im e n ta l p la n e. " A ll the D ead P ilo ts " (1931) and "T urnabout" (1 9 3 2 ) a re r e la t e d p ie c e s . "L anding in L u ck ," a l e s s know n s to r y p r in ted N o v em b er 2 6 , 1 9 1 9 ,^ about one y e a r a fte r F a u lk n e r 's tr a in in g had en d ed in C anada, d e a ls w ith the h e r o 's n e a r ly d is a s tr o u s f i r s t s o lo . C ad et T h o m p so n , r isk in g h is in s tr u c to r 's 23 Old T im e s in th e F a u lk n er C o u n try , p . 10. C u llen r e m a r k s th at e v e n though th e s to r y m a y not b e tr u e , it " sou n d s e x a c t ly lik e W il lia m ." ^ E d . P r o f e s s o r E rw in , The M is s is s ip p ia n (U n iv e r sity , M i s s i s sip p i), pp. 2, 7. 68 rep u ta tio n , ta k e s off. W ithout r e a liz in g it, he b r e a k s h is lan d in g g e a r on a c a b le . W hen he b eg in s to land he i s w arn ed off by p e o p le on the fie ld "runn ing and flapping t h e ir a r m s ," and " an oth er m ach in e" r is e s to m e e t h im , th e p ilo t c a r r y in g a w h eel in h is hand w ith w h ich he g e s t u r e s . The B r itis h o f f ic e r s w ait b r e a t h le s s ly . '" E 's abaht out of p e tr o l and . . . ' e 'll be a -c o m in g down so o n , s ir ," th e C. O. i s in fo rm ed . C adet T h o m p so n b e g in s to land, " w atch in g th e r e m o r s e le s s e a rth ." H is fa te is "on th e la p s of th e G ods," but he is a ls o blin d w ith fe a r . The p la n e h its on it s ta il: th e plane " s le w e d a rou n d and sto o d on it s n o se ." L a te r, T h o m p so n b r a g s to h is fe llo w ca d e ts, "tapping a b oot w ith h is s t ic k ,” and is j e e r in g ly to ld , "H e's th e 1 f f out o f fly in g ." But T h om p son h a s the la s t la u g h a s he g o e s th rou gh the ro o m w ith h is in s tr u c to r ("h is arm w a s th rou gh the o ffic e r 's " ), an d g iv e s h is co m p a n io n s "a c h e e r fu lly c o n d e sce n d in g : 'H e llo , you ch a p s." ' A lth ou gh th e r e are r e d e e m in g f e a tu r e s of r e a lis m , a s , for e x a m p le , th e c a d e t's a c tu a l fe a r in lan d in g, th e s to r y s t r ik e s one a s o u tr a g e o u sly Q u ix o tic. D u rin g th e w in ter o f 1 9 1 8 -1 9 1 9 ) both Stone and F a u lk n er w e r e rea d in g B a lz a c (S ton e, In te r v ie w No. 1 ). F a u lk n er liv e d at h is p a ren ts' h o m e and w r o te p o e tr y at a ra p id r a te . A fter h is fa th er w a s ap p oin ted b u s in e s s m a n a g e r of the U n iv e r s ity o f M is s is s ip p i, the fa m ily o ccu p ied a ca m p u s h om e w h ich o r ig in a lly sto o d on the p r e s e n t s ite of the A lu m n i H ou se (S ton e, In terv iew N o. 1). By th is tim e F a u lk n er and Stone w e r e e n te r in g in to a k in d of lit e r a r y p a r tn e r sh ip , w h ic h w a s to la s t th rou gh the p u b lic a tio n o f S an ctu ary (1931). F a u lk n er w r o te p o e m s and, la te r bn, sh o r t s t o r ie s and n o v e ls w h ich w e r e e d ited b y Stone, ty p ed by h is s e c r e t a r y , and s e n t off to p u b lis h e r s . It is not g e n e r a lly know n that 69 S ton e a ls o r e a d p r o o fs and m a d e c o r r e c tio n s on th e g a lle y s h e e t s . T h e ir f i r s t s u c c e s s w a s r e a liz e d w ith th e p u b lic a tio n of F a u lk n e r 's p o e m " L 1 A p r e s - m id i d'un F au n e" in T he N ew R e p u b lic , A u g u st 6 , 1919. A lth ou gh Stone s u b s id iz e d F a u lk n e r 's e a r ly lit e r a r y c a r e e r , he r e f u s e s to ta k e c r e d it fo r it, sa y in g , "It w a s a p a r tn e r s h ip . T he id e a w a s to u se w h a te v e r m o n e y w a s r e a liz e d fr o m th e s a le o f B ill's lite r a tu r e to k eep th in g s m oving."^® In th e m e a n w h ile , F a u lk n er h e lp e d su p p o rt h im s e lf b y w o rk in g at odd jo b s, a m o n g th em c a r p e n tr y , h o u se p a in tin g , and s ig n . .. 26 p a in tin g . F a u lk n e r 's f i r s t b ook , The M a rb le F a u n , b e a r s th e d a te s of c o m p o s itio n " A p r il, M ay, Ju n e, 1919," a lth o u g h th e v o lu m e w a s n o t p u b - ? 7 lis h e d u n til 1924. The b oo k n u m b e r s 51 p a g e s of 7 1 /2 - x 5 -in c h s iz e , c o n ta in s a t h r e e -p a g e P r e fa c e b y P h il S ton e, a tit le p a g e , and 19 p o e m s 25 In te r v ie w N o. 1. Stone sta te d th at h e " rea d p r o o f of B ill's w o r k up th ro u g h S a n c tu a r y . " I a sk e d h im if h e m a d e c o r r e c t io n s , and h e a n sw e r e d , " Y e s, and w r o te in w h o le lin e s ." O 'C onn or, The T a n g led F ir e of W illia m F a u lk n e r , p. 21, n o te s th at "Stone . . . w r o te th a t he had p u t up th e m o n e y to p a y th e F o u r S e a s C om pan y of B o sto n fo r p u b lish in g T h e M a rb le F au n . . . to g e t F a u lk n er b e fo r e th e p u b lic ." S ee a ls o R ob e r t W. D a n ie l, A C a ta lo g u e of the W r itin g s of W illia m F a u lk n er (N ew H aven , 1942), p. 7 , and R o b ert C ou glan , T he P r iv a te W orld of W illia m F a u lk n e r , p. 58. ? A C ou gh lan , The P r iv a te W orld of W illia m F a u lk n e r , p. 52. C u l le n , pp. 1 0 -1 1 , s ta te d , "O nce he w a s p a in tin g a s ig n fo r the S tan d ard O il S e r v ic e S ta tio n , w h ic h w a s b u ilt on th e c o r n e r of o ld C o lo n el F a lk n e r 's fr o n t y a r d down on South L a m a r . He did n ot know how to s c a le h is l e t - : t e r s off and p a in t th a t sig n . He w a s stu m p ed , and I d id know how to s c a le le t t e r s off; s o I did th a t p a r t of th e job fo r him.'-' ? 7 B o sto n , p. 51. T he tit le p a g e of th e e d itio n at P r in c e to n U n i v e r s it y on w h ic h m y r e p r o d u c tio n is b a se d b e a r s F a u lk n e r 's sig n a tu r e in s m a ll, c r a m p e d h a n d w ritin g and th e date "19 D e c e m b e r 1924." A ll fu r th e r r e f e r e n c e s to The M a rb le Farm w ill be in d ic a te d by p a g e n u m b e r s in p a r e n th e s e s a fte r q u o ta tio n s. 70 in c lu d in g a P r o lo g u e and E p ilo g u e . S to n e’ s P r e fa c e b e g in s w ith th e sta te m e n t, " T h ese a r e p r im a r ily the p o e m s of youth and a sim p le h e a r t." He m e n tio n s h is fr ie n d 's lo v e of n a tu r e, a lo v e "w ithout e v a s io n or s e lf - c o n s c io u s n e s s ." The b ook h a s "the d e fe c ts of youth . . . im p a tie n c e , u n so p h istic a tio n and im m a tu r ity ," but "it sh ow s p r o m is e ," and the p o e m s have "a h in t of co m in g m u s c u la r ity of w r is t and e y e ." Stone r e f e r s to "one of our lon g w a lk s th rou gh th e h ills" and c o n c lu d e s w ith an a m u sin g a n ecd o te in d ica tin g F a u lk n e r 's a w a r e n e ss of the fa c t th at good w r itin g is a lw a y s c o m p e titiv e : I r e m a r k e d th a t I thought th e m a in tr o u b le w ith A m y L o w ell and h e r gang of d r u m -b e a te r s w a s th e ir e te r n a l d am n ed s e lf - c o n s c io u s n e s s , th at th ey a lw a y s had one e y e on the bal$ and the oth er e y e on th e gra n d sta n d . To w h ich the au th or of th e s e p o e m s r e p lie d that h is p e r so n a l tro u b le a s a p o et s e e m e d to be th a t he had one e y e on the b a ll and th e oth er e y e on Babe R uth. (p. 8 ) B e c a u s e c o p ie s of The M arb le F au n a re n ot g e n e r a lly a v a ila b le , th e r e s e e m s to be so m e v a lu e in a c o n d e n se d p a r a p h ra se of th e n in etee n p o e m s and a sa m p lin g of th e ir lin e s . The P r o lo g u e b eg in s w ith a p e r s o n i fic a tio n . P o p la r t r e e s m o v e th rou gh a " g ra y old gard en . . . I L ik e s le n d e r g ir ls w ith nodding h ea d s" (p. 1 1 ), w h isp e r in g ab ove the flo w e r s and "the d a is ie s d r e a m in g gold ." The c o m p a r iso n is ex ten d ed in to th e sec o n d sta n z a . R o s e s a r e " can d led fla m e s " and "the d a y s d rea m by." A fo u n ta in " sh a k es down its g lis te r e d h a ir " to a p o o l w h ich m ir r o r s its " fa ir, / F le c k e d fa c e " (pp. 1 1 -1 2 ). The m a r b le faun th en b e g in s h is m o n o lo g u e: W hy am I sad ? I? Why am I not con ten t? T he sky W arm s m e and y e t I can n ot b reak M y m a r b le b on d s, (p. 12) He s ig h s "F or th in g s I know, y e t cannot know ," and s e n s e s the r ic h 71 w o r ld of n a tu re c a llin g to h im . If he w e r e fr e e , the faun r e f le c t s in the se c o n d p o em , he "w ould go / W here th e f ir s t c h ill sp rin g w in d s blow" (p. 13). In c o p s e s w h e r e " P a n 's sh arp h o o fed fe e t h a v e p r e ss e d " as he h a s c a lle d the b e a s ts to the r it e s of sp r in g , " F o llo w w h ere I le a d , / F o r a ll the w o r ld s p r in g s to m y r e e d . . . ." In th e tw o s c e n e s th at fo llo w , th e faun o b s e r v e s P a n in a n o th er m ood , B e s id e a h u sh ed p o o l w h ere le a n H is ow n fa c e and the b en d in g sky In s h iv e r in g s o u n d le s s a m ity , (p. 16) N ow th e m u sic is p e n s iv e , m ovin g lik e " sh a tter e d q u ic k s ilv e r on / The w illo w cu rtain " and w a n d erin g "Into s ile n t m ea d o w s . . ." (pp. 1 6 -1 7 ). The faun is not m o v ed w ith life as a r e the liv in g th in g s about h im , fo r . . . I am dum b W ith s u n -so a k e d ag e and la c k of str en g th Of th in g s th at have liv e d out th e len g th Of lif e . . . . (p. 18) W ith th e fifth and six th p o e m s th e p o p la r s r e tu r n "T hrough a v a lle y w h ite w ith m a y [ s i c ]" (p. 20). B e e c h e s , lila c s , a s p e n s , and b ir c h e s m o v e w ith lif e . T he faun fo llo w s the ste p s of P a n and s e e s p a s to r a l s c e n e s . A b la ck b ird "knocks / A t n oon a c r o s s th e d u sty d ow n s." The im a g e r y w h ic h fo llo w s is str ik in g in a n ticip a tio n o f the F a u lk n er to co m e: Now th e b la c k b ir d s' gold w ir e d th ro a ts S p ill th e ir lo n g c o o l m e llo w n o tes; In s o le m n flo c k s s lo w ly w h e e lin g . . . a s on b lu e sp a ce T h ey th r e a d and c r o s s lik e fo ld s of la c e W oven b lack ; th en s h r illin g go L ike sh u tte r s sw in g in g to and fr o . (p. 21) P a n 's son g fo llo w s in s ix q u a tra in s. T hen, in a kind of c a ta le p s y , the 72 w o r ld is s t ill, e x c e p t fo r th e b la c k b ir d s th at a r e " bu rned s c r a p s of p a p er c a s t / On a la k e ..." (p. 24). S u m m er is th e s e a s o n of th e s e v e n th p o e m . T he p o p la r s " tu rn in g in th e b r e e z e , / F la s h th e ir f a c e t s to th e su n , / S w ayin g in slo w u n i son" (p. 2 5 ). T h en " nym phs tr o o p dow n th e g la d e" and " slip in to th e p o o l- - / W arm g o ld in s ilv e r liq u id co o l" (p. 2 6 ). The p a s to r a l m o o d is in te n s ifie d , and a s n ig h t a p p r o a c h e s th e fau n s le e p s . T he e ig h th p o e m e x te n d s th e d e s c r ip tio n of tw ilig h t. M o m e n ta r ily th e v ie w p o in t s e e m s to sh ift: now it is "we" w h o " w atch n ig h t f a ll . . ." (p. 2 9 ). The fau n sp e a k s in f i r s t p e r s o n s in g u la r a g a in in th e n in th p o e m . H is m o o d is one of s a d n e s s . T he r e f e r e n c e to "we" is c la r if ie d b y th e a p p o sitiv e , " m a r b le s in th e g la d e ," w ho . . . know th a t a ll T h in gs s a v e u s m u st fa d e and f a ll. . . . (p. 31) The s c e n e o f th e te n th p o e m is n ig h t. The m o o n is lik e n e d to "a m ad w o m a n in th e sk y ," and th e c r ie s o f the n ig h tin g a le s a r e " lik e s c a t te r e d s ilv e r s a ils / S p rea d a c r o s s th e a z u r e sea " (p. 33). T he s t illn e s s of th e h ou r is c o n tin u e d th ro u g h th e e le v e n th p o e m . P a n is a s le e p , and now the m u s ic w h ic h e n v e lo p s h im is "of a ll p a s s in g y e a r s " (p. 35). The w o r ld , lik e n e d to a " m u ted v io lin ," i s p la y e d upon by a d e sc e n d in g "hand th at g r a s p s th e b ow ," and th e lo o m in g fig u r e b en d s o v e r the v io lin of e a r th w ith " d ry s tr ic k e n e y e s " (p. 36), sig h in g w ith th e k n o w led g e of m u ta b ility . T he fau n is in fe c te d w ith th e d esp o n d en t m o o d . H is f e e lin g s g ro w m o r e in te n s e , fo r h e h a s know n the e a r th in tim a te ly : " H er a l l w is e p a in -s o fte n e d b r e a s t," and h is h e a r t is h u n g ry and f ille d w ith " ach in g b l i s s u n b e a ra b le." T he fa u n 's te n s io n , w ro u g h t b y h is k n o w led g e o f lif e and d eath 73 and th e ir e n d le s s c y c le , is b ro k en in th e tw e lfth p o e m . The hand w h ich h a s p la y e d upon th e v io lin of e a r th v a n is h e s "down the s k ie s " {p. 37). The e a r ly m o rn in g b r e e z e b lo w s a c r o s s the s e a . P a n d ilu te s th e son g o f th e n ig h tin g a le , " P h ilo m el" ; th e n ig h tb ird s h u sh and the ly r ic en d s in a llite r a tio n : . . . sou n d and s ile n c e s o u n d le s s k eep T h e ir slu m b r o u s n oon . S w e e t be th e ir s le e p , (p. 38) The th ir te e n th p o em is sh o t th rou gh w ith the v iv id life of n a tu r e. A utum n c o m e s w ith th e fo u r te e n th ly r ic , fir in g the t r e e s "T o slo w fla m e . . ." (p. 4 1 ). N ow th e p o p la r s run " B u rn ish ed by th e w anin g su n ," the " scu lp tu re d fro n d s" of "the p in e s a r e b r o n z e ," and in th e r a v in e " w aitin g w in te r s le e p s " (p. 41). T he au tu m n al th em e is p u r su e d in th e fifte e n th p o em w ith s c e n e s of h a r v e s t tim e . The fau n sta n d s a g a in in a r r e s te d m o tio n , sa d d en ed w ith th e k n ow led ge of th e dying y e a r . W in ter is in tro d u c ed w ith the s ix te e n th p o e m . The w o r ld stan d s m o t io n le s s , "w hite s ile n c e g a th er e d rou n d / It lik e a hood" (p. 4 4 ). Now the fa u n 's g a r d e n is " sta r k and w h ite," its h ed ge " Ice-b o u n d and g h o stly . . . ." The fla k e s of sn ow " slid e p a s t / L ik e te a r d r o p s on a s h e e t of g la s s . . . ." A n ic y p o o l m ir r o r s th e s k ie s . The faun fin d s g r a c e in h is " e n th ra lled im p o te n c e" (p. 4 5 ), a s the sn ow c o n tin u e s to fa ll. T he w in te r n ig h t of th e n ex t p o e m is th en d istu r b e d b y d a n c e r s, th e sig h t of " pap er la n te r n s ," and th e sou n d of " b r a ss h o rn s h o r r ib le and loud " {p. 4 6 ). The w in te r s e a s o n s u g g e s ts the Ita lia n f e s t iv a l of th e F a u n a lia , h e ld on D e c e m b e r 5, alth ou gh th e r e a r e s u g g e stio n s of p a r ty a t m o s p h e r e . To th e faun, at any r a te , m a n 's in tr u sio n is lik e a d eb a u ch ery of sp r in g . The p o p la r s a r e fr ig h te n e d , and the n igh t " L ifts h id d en hands" to in v o k e the " flyin g s ta r s " (pp. 4 6 -4 7 ). E v en though h is h e a r t is m a r b le , th e fau n m o u rn s th e v a n ish e d p e a c e U n til th e e a s t b le e d s in th e dawn And th e c le a n fa c e of the day D r iv e s th em slin k in g ly aw ay. (p. 47) T he e ig h te e n th p oem c o m m e n c e s on a p h ilo s o p h ic a l note: the faun at f i r s t f e e ls th a t he h a s so m eh o w b e e n d e c e iv e d by T im e. B rin g in g the w o r k fu ll c ir c le , th e th em e of p u z z le m e n t is r e p e a te d a s th e faun y e a r n s " F o r th in g s I know, y e t cannot know ..." (p. 4 8 ). A s an im m o r ta l, th e fau n r e a liz e s th at a ll liv in g th in g s, u n lik e h im , "do not know , nor c a re to know" the a n sw e r s to h is q u estio n s: " T h ey so r r o w n o t th a t th ey a r e dum b. . . ." T hen, s tr a n g e ly , d e s ir e s e e m s to b len d w ith fu lfillm e n t. T he faun s e e m s to be m ir a c u lo u s ly fr e e d fr o m h is bondage and is one w ith the lif e about h im . H is g ift is " sleep " or death: And in th e e a rth I sh a ll s le e p To n e v e r w ak e, to n e v e r w eep F o r th in g s I know , y e t can n ot know . (p. 49) L ik e th e P r o lo g u e , the E p ilo g u e b e g in s w ith a p e r so n ific a tio n . M ay is a g ir l w ith lo n g h a ir , d r e s s e d in " g r ee n and gold," but s t ill- - t h e ju x ta p o sitio n in d ic a te s the retu rn in g te n s io n - - t h e fa u n 's " m arb le h e a r t i s co ld . . ." (p. 50). F o r the f ir s t tim e th e w o rd "people" is u se d in the p o em : th ey . . . p a s s A c r o s s th e c lo s e - c lip p e d e m e r a ld g r a s s To s ta r e at m e w ith stu p id e y e s . O nce a g a in d ista n t s c e n e s of n a tu re c a ll to h im , but he kn ow s that h e is f o r e v e r " m a rb le-b o u n d ." The te n s io n b u ild s as d e s ir e is c o n tr a ste d w ith a to r tu r in g im p o ss ib ility : M y h e a r t is fu ll, y e t sh ed s no te a r s To c o o l m y b u rn ing c a r v e n e y e s . (p. 51) T he p oem c o n c lu d e s w ith the rh y m e w h ich b eg a n it, "go / snow " and 75 " fro / go" r e s p e c t iv e ly , in d ic a tin g F a u lk n e r 's a w a r e n e s s of th e im p o r ta n ce of str u c tu r a l a s w e ll as th e m a tic u n ity . O ther than r e v ie w s , o n ly tw o sig n ific a n t a r t ic le s on F a u lk n e r 's 28 p o e tr y h a v e a p p ea red . H a r r y Runyan te r m e d the M arb le F au n p ie c e s " im m a tu re r o m a n tic ism ," e m p h a siz in g th e p o e tr y 's d e r iv a tiv e a s p e c ts (pp. 2 6 -2 7 ). G eo rg e G a rrett J r . took is s u e w ith R unyan, c a llin g a tten tio n to th e hu ge ta s k w h ich yo u n g F a u lk n er had s e t fo r h im s e lf in a t tem p tin g "a p a s to r a l c y c le " o f p o e m s in th e tw en tieth cen tu ry . He co n s id e r e d th e p o e t's s u c c e s s lim it e d but h a r d ly in sig n ific a n t. F a u lk n er in ten d ed to w r ite "a m y th o lo g ic a l p oem " p la c e d in th e co n tex t of the E n g lish e c lo g u e and e m p lo y in g th e s e a s o n s of the y e a r and h o u rs of the d ay to r e la te se p a r a te p a r ts o f th e p oem (pp. 1 2 4 -1 2 7 ). T h ere is , of c o u r s e , no doubt a s to the p o e m 's m y th o lo g ic a l b a s is . F a u lk n e r 's faun i s c lo s e en ou gh to th e Ita lia n d iv in ity , th e god of th e fie ld s and sh e p h e r d s , r e p r e s e n te d b y the sta tu e of the F a u n of P r a x ite le s in R o m e. T he p r o p h e tic ta le n t of the d e ity ("things I know, y e t cannot know ") and 28 G eo rg e P . G a rrett, J r ., "An E x a m in a tio n of the P o e tr y of W il lia m F a u lk n er ," P r in c e to n U n iv e r sity L ib r a r y C h r o n ic le , 18, N o. 3:124- 135, S p rin g 1957. H a rry R unyan, " F a u lk n er 's P o e tr y ," F a u lk n er Stud i e s , 3, N o s. 2 -3 : 2 3 -2 9 , S u m m er-A u tu m n 1954. I am e x ce p tin g P h il S to n e 's " P r e fa c e " to the M a rb le F au n, a lr e a d y d is c u s s e d , and of w h ich I s h a ll sa y m o r e in Ch. V. John M cC lu re r e v ie w e d F a u lk n e r 's M arb le F au n in " L ite r a tu r e and L e s s ," N ew O r le a n s T im e s - P ic a y u n e , Sunday m a g a z in e s e c ., Ja n u a ry 25, 1 9 2 5 , p. 6 , r e c o g n iz in g both the a c h ie v e m e n t and p r o m is e of the w o rk . O th er r e v ie w s r e la t e to A G reen B ough (1933) and a re m o r e p e r tin e n t to Ch. VI. T h e se in clu d e W illia m R o se Bendt, S aturd ay R e v iew o f L ite r a tu r e , A p ril 29, 1933, p. 565; Eda L ou W alton, N ew Y ork H era ld T rib un e B o o k s, A p ril 30, 1933, p . 2; P e te r M onro Jack , N ew Y ork T im e s B ook R e v ie w , M ay 14, 1933, p . 2; N a tio n , 136: 565, M ay 17, 1933; and M o r r is U. S ch a p p es, " F au lk n er as P o e t," P oetry, 4 3 :4 8 , O cto b er 1933. 76 h is c o r r e sp o n d e n c e to the G reek P a n id e n tify h im c o n s is te n tly w ith th e god of th e Ita lia n m y th . H o w ev er, th e r e f e r e n c e s to " w e1 1 who "w atch n igh t f a ll," and th e a p p o sitiv e " m a r b les in th e glad e" s u g g e st s e v e r a l fa u n s, and fo r m a r e la tio n sh ip to th e G reek s a ty r s , c r e a tu r e s c h a r a c - 29 t e r iz e d b y p o in ted tip s of e a r s and g o a ts' fe e t. I h ave a lr e a d y g iv e n a c o n d e n se d p a r a p h r a se of the n in e te e n p o e m s and in clu d ed a r e p r e s e n ta tiv e sa m p lin g of th e ir lin e s and im a g e r y . 30 T h ere a r e 810 lin e s , in clu d in g 8 h a lf - lin e s , b a s ic a lly of ia m b ic m e te r and a lm o s t u n ifo r m ly o c to s y lla b ic . T he p o e m s a v e r a g e n e a r ly 43 lin e s ea ch but v a r y in d iv id u a lly fr o m 24 in th e fo u rtee n th p o em to 74 in the se v e n th . The s ta n z a ic o r g a n iz a tio n is a ls o flu id , g u id ed by co n ten t r a th e r th an c o n s is t e n c y of form : th e to ta l 55 sta n z a s, a v e r a g in g 3 sta n z a s fo r e a c h p o e m , v a r y fr o m 1 sta n z a in the fo u rtee n th p o em to 8 in the six th , alth ou gh 8 of the p o e m s h ave 3 sta n z a s e a c h , 7 h a v e 2 s ta n z a s , and on ly 3 h a v e 4 or m o r e s ta n z a s. The m o s t ob viou s v a r ia tio n in sta n z a ic p a tte r n o c c u r s w ith th e so n g of P a n in the six th p o e m , 31 w h ich in c lu d e s 6 q u a tr a in s, but th e b a s ic p a tte r n is 12 and 14 lin e s . W ithin c o n v e n tio n a l lim ita tio n s th e fo r m is v a r ie d , and fle x ib le enough 29 The c o v e r illu s tr a tio n of th e v o lu m e , w h ich a ls o r e la t e s to the P a n fig u r e , c o m p le te w ith p ip e s , b e a r s out m o r e c lo s e ly the p lu r a l co n cep t of th e faun r a th e r th an the s t r ic t e r one of th e Ita lia n d eity r e p r e se n te d b y th e F au n of P r a x it e le s in R o m e, th e on ly a n im a l fe a tu r e of w h ich is its p o in ted e a r s . It is p o s s ib le th at F a u lk n er e ith e r m e r g e d the tw o c o n c ep ts or a llu d ed to th em w ith o u t d istin c tio n . F o r fu r th e r i n - . fo r m a tio n s e e " F au n u s," and "F au n of P r a x ite le s ," E n c y c lo p e d ia A m e r ic a n a , 1954, XI, 6 3 -6 4 . O Q R unyan, p. 24, d e s c r ib e s th e M arb le F au n as "a sin g le p o em , 806 lin e s lo n g ," but o b v io u sly d o e s n ot count the 8 h a lf lin e s s e p a r a te ly . * 2 1 G a r re tt, pp . 1 2 6 -1 2 7 , m a k e s a g e n e r a l o b se r v a tio n c o n c e r n in g S ta n za ic p a tte rn and g iv e s o th er p e r tin e n t in fo rm a tio n r e la te d to p o e tic 77 to g iv e w a y to fu n c tio n . A lth o u g h F a u lk n er r e lie d h e a v ily on th e u s e of e n d -sto p p e d lin e s , m a s c u lin e r h y m e s , and m o n o s y lla b ic w o r d s, s e v e r a l a r e m o r e c o m p le x , a s fo r e x a m p le t h e s e fr o m th e s e c o n d sta n z a of th e six te e n th p o em : In it s e n d le s s q u ie s c e n c e F o r m y e n th r a lle d im p o te n c e . . . . (p. 45) C a e su r a s a r e not in fr e q u e n t, n o r a r e fe m in in e r h y m e s , a s in The d yin g day g iv e s th o s e w ho so r r o w A b o o n no k in g c a n g iv e : a m o r r o w , (p. 28) and sla n t r h y m e s , a s in W ith q u ie t depth and so litu d e And lic k s the c a v e r n e d sk y . The w o o d . . . . (p. 37) C o n v en tio n a l fo rm is e v e r y w h e r e o p e r a tiv e , but it is se ld o m r ig id to the p o in t of b e c o m in g a r t if ic ia l. In v e rted lin e s , o b s o le te p h r a s in g s , o ld - fa s h io n e d id io m s and sy n ta x s e e m to h a v e b e e n n ot on ly c o n tr o lle d , but a ls o c o n s c io u s ly e m p lo y e d b y F a u lk n er to co n trib u te to an a tm o sp h e r e o f a n tiq u ity . T he R o m a n tic s and F r e n c h S y m b o lis ts a r e the p r im a r y in flu e n c e s a t w o r k in th e M a rb le F a u n . S tone in h is P r e fa c e m e n tio n s th at th e v o lu m e b e a r s " tr a c e s of o th er p o e ts" (p. 7), and he la t e r a c k n o w l ed g ed th a t F a u lk n er w a s r e a d in g , a m o n g o th e r s , K ea ts, S h e lle y , th e F r e n c h S y m b o lis ts , and S h a k e sp e a r e d u rin g th is p e r io d {In terv iew N o. 1). W ritin g of F a u lk n e r 's p o e tr y a s a w h o le , R unyan c a lle d a tten tio n to h is " r o m a n tic ism " in a p e jo r a tiv e s e n s e , a s s o c ia t in g it w ith tr a d itio n a l te c h n iq u e . 32 G a rrett m e n tio n s F a u lk n e r 's in t e r e s t in u sin g tr a d itio n a l d e v ic e s "to g iv e the p o e m a t i m e l e s s q u a lity " (p. 126). 78 m e t r ic s , and qu oted a s ta te m e n t of F a u lk n e r in 1925 in d ic a tin g h is 33 p r e fe r e n c e fo r " 'fo r m a l r h y m e s and c o n v e n tio n a l f o r m s . " 1 In r e f e r rin g to th e M a rb le F a u n , G a r re tt p o in ted o u t F a u lk n e r 's unique a c h ie v e m e n t in b le n d in g th e d e v ic e s of th e E n g lis h p a s to r a l and s y m b o lis t v e r s e (p. 1 2 5 ). F in a lly , th e th ir d --a n d m o s t g e n e r a l- - t y p e of in flu e n c e m a y be te r m e d E liz a b e th a n . M any of F a u lk n e r 's im a g e s r e f le c t th e p a s to r a l m od e of su ch p o e m s a s G r a y 's " E le g y W ritten in a C ou n try C h u rch yard ." S o m e e x a m p le s fo llo w : " s ile n t m e a d o w s" {p. 17), "the q u iet b r o w sin g flo c k s" and " d u sty dow ns" (p. 2 0 ), "the sh e p h e r d s w ith th e ir flo c k s" (p. 22), "A sh eep b e ll tin k le s fa in t and fa r" (p. 27), "the m e llo w s u n -sh o t dow n s" (p. 39), and "hunchfed g r a in in s h o c k / On sh o c k in s o le m n r o w s" (p. 42). F a u lk n e r 's p o e tic te c h n iq u e s a lr e a d y r e f e r r e d to a r e , of c o u r s e , m o re c h a r a c t e r is t ic of th e R o m a n tic s th an , s a y , th e N e o - c l a s s ic a l p o e ts . The o c to s y lla b ic c o u p le t, th ough fr e q u e n tly e m p lo y e d b y th e A u g u sta n s, w as a ls o u s e d b y S h e lle y in su c h p o e m s a s " L in e s W r itte n am ong th e Eu* gan ean H ills ," " L in e s W r itte n in th e B ay o f L e i r i c i ," and "T he M asq ue of A n a rch y ." I n te r e s tin g ly , S h e lle y 's s ta n z a ic fo r m s in th e s e p o e m s a r e m u ch m o r e r e g u la r than F a u lk n e r 's . T he e x a lta tio n of w ild n atu re, the s u b je c ts of m y th and p a st, s u p e r n a tu r a lis m , an e m p h a sis u p on in n er or s u b je c tiv e th o u g h ts, and the p r o fu s io n o f s e n su o u s i m a g e s - - a l l R o m a n tic t r a i t s - - a r e b r o a d ly r e f le c t e d in th e M arb le F a u n ; but s o m e p o r tio n s o f th e p o em a r e m o r e s p e c if ic a lly d e r iv a tiv e . The th e m e of P . 2 7 . F a u lk n er o b s e r v e d a te n d e n c y a m o n g p o e ts to retu rn to tr a d itio n a l fo r m s and a p p ro v ed of it in " V e r s e O ld and N a sc e n t: A P ilg r im a g e ," S a lm a g u n d i (M ilw a u k ee, 1 9 3 2 ), p. 39. O r ig in a lly pub. in D ouble D e a le r , 7 :1 2 9 -1 3 1 , A p r il 1925. 79 a p p ro a ch in g sp rin g, p a r tic u la r ly P a n 's m e s s a g e of " F o llo w w h ere I lea d " in th e seco n d p o e m , s u g g e sts S h e lle y 's m o tif of sp r in g in P r o m e th eu s Unbound (II, ii), s p e c if ic a lly th e r e p e titio u s " F o llo w , follow '." a s A s ia and P an th ea m u s ic a lly p r o g r e s s to w a rd a m o r e u n iv e r s a l sp r in g up on earth ; and the tw o fau n s in th e n ext s c e n e ech o F a u lk n e r 's m eth od . It is r e v e a lin g a lso to co m p a r e th e ia m b ic te tr a m e te r c o u p le ts and im a g e s of m u s ic and s e a s o n a l change in S h e lle y 's "To a L ady, w ith a G ui ta r " w ith th o se of F a u lk n e r 's p oem : the h in ts of c o n s is t e n c y a re stro n g in S h e lle y 's " su m m er w in d s in s y lv a n c e lls ," " fa llin g r ills ," " b ird s and b e e s ," and " a ir s of e v e n in g ." K ea ts' "The H um an S e a so n s" and "To S leep " s u g g e s t s im ila r it ie s of su b je c t m a tter ; but a m o r e s p e c ific c o n s is t e n c y is found in "O de to a N ig h tin g a le" w ith its u se of d ream s c e n e s and lu sh d e sc r ip tio n s o f n a t u r e - - g r a s s , c o p s e s , flo w e r s , fr u it t r e e s , the 34 m o o n , and the n ig h tin g a le its e lf. The F ren ch S y m b o list m o v e m e n t ca n be tr a c e d b a ck to su ch p o e m s a s V e r la in e 's R o m a n c e s sa n s p a r o le s (1874) and M a lla r m e 's 35 L 'A p r e s -m id i d'un fa u n e (1876). E dm und W ilso n in A x e l's C a stle d e - fin e d s y m b o lism as "an attem p t b y c a r e fu lly stu d ied m e a n s - - a c o m p li c a te d a s s o c ia tio n of id e a s r e p r e s e n te d b y a m e d le y of m e ta p h o r s -- to 36 c o m m u n ic a te unique p e r s o n a l fe e lin g s ." S p e c ific a lly , he lis te d th e s e c h a r a c t e r is t ic s : 34 F o r a m o re d e ta ile d w o rk in g out of R om an tic in flu e n c e s in F a u lk n e r 's p o e tr y d u rin g the fa ll of 1919 and h is fo llo w in g s e m e s t e r s at the U n iv e r s ity of M is s is s ip p i, s e e th e n ex t c h a p ter. 35 " S y m b o lism e, L e," The O xford C om pan ion to F r e n c h L it e r a tu r e , ed . S ir P au l H a r v e y , J. E. H e se ltin e (O xford, 1959), p. 691. 3 6 (N ew York, 1 9 5 4 ), pp. 2 1 -2 2 . 1 . a " co n fu sio n b e tw e en th e p e r c e p tio n s of the d iffe r e n t s e n s e s " 2 . an " a ttem p t to m a k e th e e ffe c ts of p o e tr y a p p ro x im a te to th o se of m u sic " 3. a " c o n fu sio n b e tw e en th e im a g in a r y and th e r e a l . . . s e n sa tio n s and fa n c ie s , on th e one han d, and w h a t w e a c tu a lly do and s e e , on the oth er" 4. the " ten d en cy . . . aw ay fr o m a m e c h a n is tic v ie w of n a tu re and . . . a s o c ia l c o n c ep tio n of m a n - - t o m ak e p o e tr y e v e n m o r e a m a tte r o f s e n sa tio n s and e m o tio n s of the in d iv id u a l th an had b een the c a s e w ith R o m a n tic ism " 5. the te n d en cy "T o in tim a te th in gs r a th e r th an to sta te th em p la in ly" 6 . the p u rp o se of in v en tin g a " s p e c ia l la n gu age" u sin g sy m b o ls; i .e ., "what is s o s p e c ia l, so fle e tin g and so vague can n ot b e co n v ey ed by d ir e c t s ta te m e n t or d e s c r ip tio n , but on ly b y a s u c c e s s io n of w o r d s, of im a g e s , w h ich w ill s e r v e to s u g g e s t it to th e read er." (pp. 1 9 -2 1 ) A d m itted ly th e r e a re c h a r a c t e r is t ic s w h ic h E n g lish R o m a n tic ism and F r e n c h S y m b o lism h a v e in co m m o n . The R o m a n tics w e r e o ften o b sc u r e th e y p r e s e n te d im a g e s not a lw a y s r e la te d by lo g ic . T h eir la n g u a g e w a s sh ad ow y, u n r e a l, and im a g in a tiv e ly flu id w h ile F r e n c h ly r ic a l sty le w a s s t i l l e p ig r a m m a tic and p r e c is e , but th en th e S y m b o lists in th e la te n in e te e n th cen tu r y m ad e a m u ch m o r e d r a m a tic c le a v a g e w ith th e r a tio n a l- ; i s t i c F r e n c h p o e tr y w h ic h p r e c e d e d it th a n e v e r co u ld the E n g lish a fte r 37 C o le r id g e , S h e lle y , and K ea ts. A ll th is is to sa y th a t E n g lish r o m a n t ic p o e tr y had , by the tim e of th e F r e n c h S y m b o lis ts , a lr e a d y a d v a n ced a lo n g w a y to w a rd so m e of th e id e a s of th e F r e n c h m o v e m e n t. It is c le a r th at F a u lk n er by 1918 h ad a lr e a d y gone b eyon d E n g lis h R o m a n tic in flu e n c e s , w a s stud ying th e w o rk of the F r e n c h S y m b o l- 3 7 E dm und W ilso n , A x e l's C a stle , pp . 1 5 -1 6 , in su p p o rt of th is p o in t c o m p a r e s S h e lle y 's ly r ic b eg in n in g "O World'. O Life'. O Tim e'." w ith M u s s e t's " J 'a i p e r d u m a fo r c e et m a v ie ," both " c u r io u sly s im i la r " in R o m a n tic fla v o r , w ith the c o n c lu sio n that M u s s e t's p o em is th e m o r e c la s s ic a l, e v en to the p o in t of u sin g e p ig r a m m a tic is m s , w h e r e a s S h e lle y 's is th e m o r e "vagu e," givin g u s " im a g es u n r e la te d b y lo g ic ," th e r e fo r e m o r e c o n s is te n tly s y m b o lic a l. is t s , and had c o m e under th e ir in flu e n c e . W e have S to n e 's sta te m e n t that F a u lk n er w a s rea d in g th e F r e n c h S y m b o lists and th a t th ey p r o - 38 d u ced an in flu e n c e upon F a u lk n e r 's w ork . A lth ou gh th e r e la tio n s h ip s b e tw e e n F a u lk n e r 's " L 'A p r e s -m id i d'un F au ne" and M a lla r m e 's p o em of th e sa m e n a m e h ave n ot b e e n w o rk ed out, the titu la r a s s o c ia tio n is o b v io u s enough . G a rrett s ta te d th a t M a lla r m e 's w o r k r e p r e s e n ts an " in te n se co n d e n sa tio n of th e m o o d and a rg u m en t of th e M arb le F a u n , and th a t F a u lk n er had m a d e a unique a c h ie v e m e n t in b len d in g th e d e v ic e s of S y m b o list v e r s e w ith the E n g lish p a s to r a l (pp. 128, 125). F in a l ly , w e know th a t of the p o e m s p u b lish e d in th e u n iv e r s ity n e w sp a p e r, The M is s is s ip p ia n , b eg in n in g in th e f a ll of 1919 and co n tin u in g d u rin g the n e x t tw o y e a r s , a p p r o x im a te ly one fo u rth a re tr a n s la tio n s " from 3 9 P a u l V e r la in e ," 7 and S y m b o list te c h n iq u e s a r e e c h o e d in s e v e r a l o th e r s . A p e r u s a l of the te x t of the M arb le F au n r e v e a ls a n u m b er of S y m b o list d e v ic e s . The a c t iv it ie s of the fau n a re p r e s e n te d in su c h a w ay th a t the im a g in a r y and the r e a l a re m in g le d and, as it w e r e , p u r p o s e ly co n fu sed . In the e ig h te e n th p o em , the faun h a s a p p a ren tly ended h is bon dage and ea rn ed th e m o r ta l rew a r d of s le e p in th e ea rth , "To n e v e r w ak e, to n e v e r w e ep ..." (p. 49), so r e a l h a s h is d rea m of ■ ^ G arrett, n. 5, p. 128, m e n tio n s a le t t e r fr o m P h il Stone to J a m e s B. M e r iw e th e r , F e b r u a r y 19, 1957: "A s to th e F r e n c h s y m b o lis t j p o e ts , B ill r e a d a good m a n y of th em th at I had, so m e in th e o r ig in a l and m o s t in tr a n s la tio n , and I th in k th ey had so m e in flu e n c e upon h is own v e r s e ." S to n e, In te r v iew N o. 1, m e n tio n e d th e n a m e s of M a lla r m e and V e r la in e . ■^The th ir te e n p o e m s p r in ted in the n e w sp a p e r w ill be d is c u s s e d in Ch. IV. F o u r of th e se a r e tr a n s la tio n s fr o m V e rla in e: " F a n to u ch es" [ s i c ] (F e b r u a r y 2 5 , 1920, p . 3); " C la ir De Lune" (M arch 3, 1920, p . 6 ); 82 fr e e d o m and m o r ta lity b e c o m e ; but in th e E p ilo g u e w e s e e , a s does th e d e je c te d faun, th at th e ir r a tio n a lity of illu s io n h ad sim p ly d is p la c e d r e a lity . H is fa n ta s ie s h a v e tr ic k e d h im , and th e fau n is r etu r n e d to h is e te r n a l b on d age. M ore s p e c if ic a lly , th e p r o fu se s y n e s t h e s ia - - a n a p p lic a tio n of w hat W ilso n c a lls th e " co n fu sio n b e tw e en the p e r c e p tio n s of th e d iffe r ent s e n s e s " ^ - - i s illu s tr a te d by the fo llo w in g : " liv in g s ile n c e " (p. 15); " pipes w e a v e m a g ic on th e sky" (p. 15); " sh iv e r in g so u n d le ss am ity" (p. 16), "the b la c k b ir d s' . . . lo n g c o o l m e llo w n o te s" (p. 21 ); "the a ir / Is sh im m e r in g s till" (p. 22); " c r ie s lik e s c a tte r e d s ilv e r s a ils / S p rea d a c r o s s the a z u r e sea " (p. 33); " M ists a s so ft and th ic k as h a ir " (p. 34); "daw ns bu rn / E a stw a rd ly " (p. 35); "w ater s h iv e r s b la ck / W ith quiet depth and so litu d e / And lic k s the c a v e r n e d sky" (p. 47); and "Stars th a t fla r e and f r e e z e and burn" (p. 48). B eyon d th e s e a r e v a r io u s c o m p le x a s s o c ia tio n s of id e a s e x p r e s s e d in w h at W ilso n te r m s "a m e d le y of m e ta p h o r s," su ch a s th e s e fig u r e s : " fie r c e c o ld m ou n tain to p s" (p. 13); sw a llo w s a r e " a r ro w s p a in ted on the sky" (p. 14); P a n 's p ip e s blow Of f ie r y d a y s th at go L ike w in e a c r o s s th e w orld ; (p. 15) P an s it s " g a r m e n t-c la d / In sa d n e ss w ith dry s tr ik e n e y e s" (p. 17); b la c k b ir d s " A re b u rn ed s c r a p s of p a p er c a s t . . ." (p. 24); " m ead ow s s tr e tc h in g o v e r m e / A re h u m m in g s ta r s as th ick a s b e e s" (p. 27); " S treets" (M arch 17, 1920, p. 2); and "A C lym en e" (A p ril 14, 1920, p. 3). ^ S y n e s t h e s ia , a s w e ll a s p r o fu se s e n s e im a g e s , is a ls o a f r e q u en tly u se d d e v ic e of th e R o m a n tics in E n g lish lite r a tu r e . F o r fu r th e r r e m a r k s on th e s e c h a r a c t e r is t ic s of F a u lk n e r 's p o e tr y , s e e th e n ext ch a p ter. ' 83 " s ilk e n - b r e a s te d s k ie s" (p. 30); "a b ro o d in g m o o n -w e t h ill" (p. 34); "th in su n s iftin g fr o m th e sky" (p. 40); "her d r e a m in g k n e e s" (p. 41); d e s ir e is a " c r y m o o n w a rd in s tiff p ain " (p. 42); w in te r is "w hite s i le n c e g a th e r e d round" th e e a r th " lik e a hood" (p. 44); a f e s t iv a l is " reft of g r a c e " (p. 46); "The p o p la r s sh a k e and sw a y w ith fr ig h t" (p. 46); and " p eace" is " ca lm handed" (p. 47). In an ag e of in d u s tr ia liz a tio n and n a tu r a lis m , r e f le c t e d in th e p o e tr y of C a rl S a n d b u rg /^ F a u lk n er w a s sh u n n in g a m e c h a n is tic v ie w of lif e and e m p h a siz in g s e n s a tio n s and e m o tio n s in h is p o e m in th e m o s t e x t r e m e ly in d iv id u a lis tic m a n n e r, w h ic h I s h a ll a ttem p t to e la b o r a te upon w h en I t r e a t th e th e m e and in te r p r e ta tio n of th e M a rb le F a u n , T h rou gh ou t th e p o e m , s u g g e s tio n r e p la c e s e x p lic it sta te m e n t; in th e b e s t S y m b o list tr a d itio n , F a u lk n er w a s in tim a tin g th in g s ra th e r th a n sta tin g th em p la in ly . F o r e x a m p le , in the s e c o n d p o e m th e faun n o te s th at P a n 's m u s ic is " T h r illin g a ll th e sk y and grou n d ," and by im p lic a tio n , one p e r c e iv e s , a ll liv in g c r e a t u r e s , in c lu d in g m an; and th u s the r e a d e r r e sp o n d s th ro u g h co n n o ta tiv e a s s o c ia t io n s . A lth ou gh th e p u re jo y of a sp r in g d ay and th e in e v ita b le in te r p la y b e tw e e n m a le and fe m a le a r e not sta te d a s su ch , a lo n g w ith a s s o c ia t io n s of sh o c k and p a s s io n , th e y a r e f le e t in g ly and v a g u e ly s u g g e s te d by th e fa u n 's d r e a m e d a c tio n s: ^ I n a r e v ie w of "A r ia da C a p o : a P la y in One A c t, by E d n a St. V in cen t M illa y ," u n d er th e c o lu m n t it le " B o o k s and T h in g s," T he M is - s is s ip p ia n (U n iv e r s ity , M is s is s ip p i) , J a n u a ry 13, 1922, p . 5, c o l. 1, F a u lk n er e n th u s ia s t ic a lly p r a is e d th e d ra m a and sh o w ed h is d is a p p r o v a l of S a n d b u rg 's w o r k w ith th e r e m a r k , " e v en th ou gh . . . M r. C a rl S an d bu rg s e t s it [A r ia da C ap o] in th e s to c k y a r d s , to be a c te d of a S a tu rd a y a ftern o o n , b y th e B e e f B u tc h e r s' U n ion ." 84 . . . I p lu n g e in so m e d eep v a le W h ere f i r s t v io le t s , sh y and p a le , A p p ea r, an d sp r in g w ith te a r - s t a in e d c h e e k s P e e p s at m e fro m n e ig h b o rin g b ra k es G ath erin g h e r to r n d r a p e r ie s up F o r flig h t if I c a s t m y e y e s up. (p. 14) F in a lly , th e E liz a b e th a n in flu e n c e s a r e of a g e n e r a l ra th er th an s p e c if ic n a t u r e ,^ The p a s to r a l m o d e it s e lf , fo r e x a m p le , s u g g e s ts the m o n th ly and s e a s o n a l d e v ic e s of S p e n s e r 's The S h ep h erd s' C alen d ar 43 w ith it s tw e lv e e c lo g u e s . An in te r e s tin g d e ta il of S p e n s e r 's w ork is its d e d ic a tio n to P h ilip S id n ey w r itte n in th e fo rm of o c to s y lla b ic cou p le t s , the tr a d itio n a l fo r m w h ich F a u lk n er u se d th rou gh ou t th e M arble F a u n . Som e s u g g e s tio n s of tr a d itio n a l and, m o r e p a r tic u la r ly , Shake sp e a r e a n im a g e r y o ccu r in the p o e m . The fa ir y s c e n e s in th e w ood n e a r A th en s in A M id s u m m e r -N ig h t's D rea m fo rm an in te r e s tin g im a g e r e la tio n sh ip w ith F a u lk n e r 's p o e m . O b ero n 's sp e e c h w ill s e r v e as an e x a m p le : I know a ban k w h ere th e w ild th y m e b lo w s, W h ere o x lip s and nod d in g v io le t g ro w s, Q uite o v e r -c a n o p ie d w ith lu s c io u s w ood b in e, W ith s w e e t m u s k - r o s e s and w ith eg la n tin e: T h e re s le e p s T ita n ia s o m e tim e of th e n ig h t, L u ll'd in t h e s e flo w e r s w ith d a n ces and d elig h t; A nd th e r e the snake th ro w s h e r e n a m e ll'd sk in , . . . (II, i) F a u lk n e r 's a r b o r e a l im a g e s a r e b r o a d ly s im ila r . H is bou gh s a ls o " le a n 42 W ilso n , A x e l's C a s t le , p. 15, m e n tio n s the a ffin ity b etw een th e R o m a n tics and E liz a b e th a n s, in clu d in g S h a k esp ea re and M ilto n , a r e la tio n sh ip e x is tin g "in sp ite of P op e and D r. Joh n son ." He g o e s fu rth er to sa y that th e r e la tio n s h ip a ls o e x is t s b e tw een th e E liz a b e th a n s and th e S y m b o lis ts . N o tin g th e " m ed ley of im a g e s" and the " a m a lg a m a tio n of the m a te r ia l w ith sp ir itu a l," W ilso n s a y s , " S h a k esp ea re and th e oth er E liz a b e th a n s d id a ll th e s e th in g s w ith o u t th e o r iz in g about th em " (p. 14). ^ G a r r e t t , p. 125, a ls o n o tic e s th e p a s to r a l d e v ic e s in F au lk n er's p o e tr y , in clu d in g the " tr a d itio n a l c o n v e n tio n s of the E n g lis h e clo g u e." 85 / A canopy" (p. 2 6 ). The p o p la r t r e e s h a v e " sle n d e r g r a c e fu l f e e t / L ik e p o is e d d a n c e r s" (p. 11). A s th e fau n l i s t e n s in th e f o r e s t , h e h e a r s a so u n d and g lid e s " n e a r e r lik e a sn ak e" (p. 16). H o w e v er , th e im a g e s of f lo w e r s and t r e e s ( e .g ., pp. 11, 14, 18, 2 0 , 39, 4 1 ), th e fa n ta s tic s c e n e s in m o o n lig h t (p. 30), and th e in tr ic a te b le n d in g s of th e r e a l and m y th ic a l s u g g e s t a g e n e r a l s im ila r it y o f im a g e and tone r a th e r than of an y s t r ik in g lit e r a l p a r a lle ls . In th is c h a p ter I h a v e th u s fa r a ttem p te d to in d ic a te so m e th in g of F a u lk n e r 's fr ie n d s h ip and lit e r a r y a s s o c ia t io n w ith P h il S to n e, to c la r if y the f a c ts of h is W o rld W ar I e x p e r ie n c e s , and to d e s c r ib e h is f i r s t v o lu m e of p o e tr y , p la c in g it in th e co n tex t of s e v e r a l lit e r a r y t r a d itio n s . M ore s p e c if ic a lly , I h a v e t r ie d to e s t a b lis h and c la r if y F a u lk n e r 's lit e r a r y in flu e n c e s and to r e la te th em to h is e s t h e tic d e v e lo p m e n t d u rin g th is p e r io d of h is lif e . Now so m e th in g r e m a in s to be s a id of th e m e and, to th e e x te n t th a t w e m a y lo g ic a lly s p e c u la te , it s r e la t io n sh ip to the p o e t's lif e and a ttitu d e s d u rin g th e se p o s t-w a r m o n t h s - - A p r il, M ay, and Ju n e, 1919- R unyan, w h o g iv e s a p e r ip h e r a l tr e a tm e n t o f th e M a rb le F a u n , m e n tio n s " m u ta b ility " a s F a u lk n e r 's m a jo r p o e tic th e m e , "w ith the 44 e v e r p r e s e n t s e n s e of fu tility ." G a r r e tt s ta te s th a t F a u lk n e r 's m o o d i s " e le g ia c ," and th at h e la m e n ts "a p e r s o n a l s e n s e of lo s s " r a th e r th an th e u su a l su b je c t o f d ea th . T he p o e t's v iew p o in t is f ir s t p e r s o n s in g u la r , alth ou gh h e sp e a k s th ro u g h th e m a r b le faun. T he faun is p h y s ic a lly ^ P . 2 6 . In c o n te x t th e th em e a ls o a p p lie s to F a u lk n e r 's o th er p o e tr y , in c lu d in g A G r ee n B o u g h . " m a rb le-b o u n d " in " th is g ra y old gard en ," b ut h is is o la tio n is , in a s e n s e , s e lf-im p o s e d ; fo r he is "the p r is o n e r of in te r io r p o w e r s w h ich is o la t e h im fr o m the q u ick unthinking v ita lity of the id e a liz e d p a s to r a l s c e n e ." The s e n s e of is o la tio n is a r e s u lt o f " k n ow led ge, a s e n s e of id e n tity and l o s s , the m e m o r y of th e d r e a m y p a st and a s e n s e of th e r e c u r r e n c e and r e p e titio n of a ll th in g s, good and e v il." H is so r r o w is the g r e a te r b e c a u s e h is a w a r e n e s s is in d ir e c t c o n tr a s t w ith "the th o u g h t- f l e s s v ig o r of life ." F in a lly , em b ed d ed in th e p a s to r a l a tm o sp h e r e is "one of the dom in ant th e m e s of our lite r a tu r e , the str u g g le to id e n tity , in th is c a s e d efin ed in sy m b o lic te r m s" (pp. 1 2 5 -1 2 6 ). The th e m e s of th e M arb le F aun- - m u ta b ility , is o la tio n , th e m e m o r y of p a s t, and th e str u g g le to id e n t it y - - a r e p a r tic u la r ly m e a n in g fu l w h en c o n s id e r e d a lo n g sid e F a u lk n e r 's lif e and o ffe r p o s s ib le in s ig h ts in to h is a ttitu d es and v a lu e s at the tim e . T aken to g e th e r w ith h is l if e , the th e m e s s u g g e s t w hat m a y h a v e b e e n goin g on in h is m in d in the sp r in g and su m m e r of 1919 w h en h e w ro te th e p o e m s. In tu rn , h is lif e , w h en v ie w e d in co n tex t w ith th e p o e tr y , m a y c la r ify and illu m in a te F a u lk n e r 's w ork . W ithin the fa u n 's w o r ld of f o r e s t and m ir r o r in g p o o ls is m a n 's w o r ld of n a tu re. The c y c le of tim e is t e le s c o p e d in to th e p a s s a g e of s e a s o n s , s p r in g to sp r in g again . T he faun, a s d istin g u ish e d fr o m the p e o p le and o th er c r e a tu r e s in the p o em , is im m o r t a l--a w a r e of a d eath w h ic h to u c h e s a ll but h im . T im e fo r h im , th en , is an e n d le s s c y c le . H is k n ow led ge of b irth and d e a th --th e c y c le of a ll lif e - - m a k e s h im p r o p h e tic a lly c o n sc io u s of th e life about h im , a lif e w h ich he can sh a r e in o n ly im a g in a tiv e ly : h e cannot r e a lly know th e a n im a lity of lif e b e c a u s e 87 h is k n o w led g e (" th in g s I know , y e t ca n n o t know") is o la t e s h im fr o m th e c o n te n tm en t of a p a s to r a l or n a tu ra l e x is t e n c e (th o se w ho "do not know , n o r c a r e to know "). B elo w th e s u r fa c e of p a s to r a l and m y th , th e fa u n 's w o r ld to so m e e x te n t is th e p o e t's w o r ld . To r e c a p itu la te b r ie fly , F a u lk n er h ad b e e n th o r o u g h ly s te e p e d w ith a k n o w led g e of r e g io n a l p a s t, " sa tu r a te d w ith it" in h is ow n p h ra se ; b u t m o r e th a n th at, h e h ad d e v e lo p e d an u n u su a l s e n s e of o b lig a tio n to th a t p a s t, p a r tic u la r ly to h is ow n a n c e s t r a l p a s t, th e b e s t of w h ic h w a s s y m b o liz e d b y the o ld C o lo n el, w ho in tu rn w a s a kind o f in te n s e a lle g o r y of a ll so u th e r n Q u ix o te s. In one s e n s e F a u lk n e r 's w a r e x p e r ie n c e m a y h a v e b e e n one yo u n g m a n ’ s d e s ir e fo r a d v e n t u r e - -o r a g a in , r e g io n a l e s c a p e - - b u t I h a v e t r ie d to p o in t out th a t it w a s a ls o an a tte m p t b y y o u n g F a u lk n er to id e n tify w ith th e old C o lo n e l and h is s o ld ie r ly fa m e . W hen F a u lk n e r 's e ffo r ts w e r e a b o r te d , a s w e h a v e s e e n , h e s im p ly le n t c r e d e n c e to and, in s o m e s itu a tio n s , im p r o v is e d th e m a r tia l h e r o ic s fo r w h ic h h e h a d lo n g e d . O nly b y th is fa n c ifu l m e a n s c o u ld he fin d a k in sh ip w ith th e p a s t, the h o p e of m e a s u r in g up to h is s e n s e of a n c e s t r a l o b lig a tio n . H is d isa p p o in tm en t a t n ot h a v in g b e e n a b le to d is c o v e r the O ld South in th e n ew w a r , or th e o ld C o lo n e l in h im s e lf , s e e m s to h a v e b e e n d e e p e n e d b y s o m e n ew d is c o v e r ie s . T he m ir r o r im a g e s th ro u g h o u t th e M a rb le F a u n e c h o th e p o e t's ow n in tr o s p e c tio n , and the fa u n 's fr e q u e n t s a d n e s s h is ow n d e je c tio n . F a u lk n er a p p ea r s to h a v e b e e n e x a m in in g h im s e lf and fin d in g th at h e w a s a s d iffe r e n t fr o m h is fe llo w to w n sm e n a s th e fau n fr o m th e liv in g c r e a tu r e s th a t su r ro u n d e d it. F a u lk n er w a s " sa tu r a te d w ith " th e p a s t ju s t a s th e fau n w a s " su n ste ep ed " w ith th e 88 m e m o r y of a ll th in g s . F o r h is p e o p le , it w a s as if the a n te -b e llu m South, the C iv il W ar, and e v e n th e R e c o n str u c tio n had b e e n fo rg o tten ; th ey m o v e d in a p a s to r a l e x is t e n c e a s if th ey w e r e u n c o n sc io u s of th e S o u th 's old g ra n d e u r . L ike th e o th er c r e a tu r e s of the f o r e s t , in c o n t r a s t to the fau n, th ey did "not know , n o r c a r e to know ." Upon F a u lk n e r 's r e tu r n to O xford fr o m h is sta y at N ew H aven and h is tra in in g in C anada, h e m u st h a v e lo o k ed at h is South w ith a n ew v is io n . A lfr e d K azin m a in ta in e d th at F a u lk n e r 's r e a c tio n to th e w a r w a s one of d ise n c h a n tm e n t e v in c e d in "a v a g u e and e x p a n siv e m o o d in e ss ." He f e lt a " b itte r n e s s w ith th e South," w h ic h w a s o n ly one p a r t of "a g e n e r a lly s e lf -c o m p la c e n t p e s s im is m . . . ." H is n ew a w a r e n e s s w as " s e c r e t and v io le n t. K azin q u o tes W a rren B eck , w ho o b s e r v e d th at F a u lk n er retu rn ed fr o m th e w a r "w ith an e n la r g e d p e r s p e c tiv e w h ich d is c e r n e d the d e c a d e n c e of h is n a tiv e r e g io n w h ile s t ill h o ld in g a s s o c ia - 45 tio n s w ith it." A t any r a te , F a u lk n er w a s aw a re th at th e South w a s ch a n g in g . He and Stone h ad d is c u s s e d the su b ject on th e ir lo n g w a lk s and o v e r S to n e 's d e s k in th e la w o ffic e , as th ey w ould co n tin u e to do in th e y e a r s to c o m e . It is not s u r p r is in g , th en , th at the th em e of m u ta b ility is str o n g in the M arb le F a u n . T he fau n s e e s that a ll th in g s c h a n g e , sa v e h im . H e, u n lik e the o th e r s about h im , can n ot fo r g e t h is p a st; and th ough h e d e s ir e s to be one w ith the oth er c r e a tu r e s , h is k n o w led g e of p a s t, alon g w ith h is p r o p h etic p o w e r s w h ich en a b le h im to s e e th e e n d le s s c y c le of lif e , is o la t e s h im fro m th em . L ik e th e faun w h o i s h is sp o k e sm a n , F a u lk n er w as cau gh t b e tw e en the tw o w o r ld s of ^ O n N a tiv e G rounds (N ew Y ork, 1956), pp. 3 5 1 -3 5 2 . 89 p a s t and p r e s e n t, u n a b le to b e g e n u in e ly a p a r t of e ith e r . F a u lk n er h ad n ot s o lv e d th e p r o b le m of h is ow n id e n tity , b u t h e w a s a ttem p tin g to w o r k it out, a s h e w ou ld co n tin u e to do fo r s e v e r a l y e a r s to c o m e .^ A t th is p o in t in h is c a r e e r , h e knew th a t h e h ad fa ile d to fin d th e r e s o lu t io n h e h ad so u g h t, p e r h a p s u n c o n s c io u s ly , in th e w a r e x p e r ie n c e . The in c id e n ts of the m a r tia l e x a g g e r a tio n s and h is a s su m p tio n of the r o le of r o m a n tic p o s e u r fo llo w in g h is r e tu r n to O xford a fte r W o rld W ar 1 ^ in d ic a te ju s t h ow fa r s h o r t of h is e x p e c ta tio n s the w a r e x p e r ie n c e s h ad fa lle n . D isa p p o in te d as h e w a s , h o w e v e r , h e p r o b a b ly e ith e r knew c o n s c io u s ly or s e n s e d u n c o n s c io u s ly th a t if one c o u ld 48 u n d e rsta n d h is f a ilu r e s , h e co u ld to le r a te th e m . It w a s n e c e s s a r y , th en , th a t h e m a k e an a ttem p t to s e e h im s e lf in o th er t e r m s . It w a s too so o n to fa c e h is p r o b le m s d ir e c t ly , and he h ad p r o b a b ly n e v e r c o n s c io u s ly d e fin ed th em a n y w a y ^ T hat he sh o u ld r e s o r t to h is ow n D a n ie l E . S c h n e id e r , M .D ., The P s y c h o a n a ly s t and th e A r t is t (N ew Y ork , 1950), p p . 6 9 -7 0 , s t a t e s , "A tr u e a r t is t is an in te r p r e tiv e a r t is t , c o n s is t e n t ly d e v o tin g h is lif e to the . . . e x p r e s s io n of h is ow n in d i v id u a l r e a lit y in r e la t io n to h is w o r ld ." A g a in , "The c o n s is t e n t a r t is t . . . is d r iv e n by a v is io n o f th e p o s s ib ilit y of n e w e r and g r e a te r fo r m a l in te r p r e ta tio n of th in g s fr o m w h ic h he (in h im s e lf and a s a r e p r e s e n t a tiv e of h is tim e ) s u ffe r s and by w h ic h h e is s tim u la te d . . . . To be an a r t is t , to be c r e a t iv e , is to be c o m p e lle d " (p. 101). "H e d o es n ot e x p lic it ly g a y c h o -a n a ly z e h im s e lf , but . . . 1 e s t h e t ic a lly a n a ly z e s ' b y th e in te g r a tiv e m e th o d of id e n tify in g h im s e lf w ith w h a te v e r 'c h a r a c te r ' or 'sy m b o l' and p r o je c tin g th a t id e n tific a tio n in to a r t fo r m . . . . In b r ie f th e a r t is t 'a n a ly z e s ' and 's y n t h e s iz e s ' by id e n tific a tio n (. . . e m p a th y ) in th is w a y ca p tu rin g la r g e in t e g r a ls fo r tr a n s fo r m a tio n and 'm o ld in g C r ea tu re s lik e h i m s e l f ' " (pp. 1 1 0 -1 1 1 ). ^ F o r fu r th e r e x a m p le s , s e e th e n e x t c h a p ter . 4^ C f. W a lte r J. S la to ff, Q u e st fo r F a ilu r e : A Study of W illia m F a u lk n e r (Ith aca, N ew Y ork , I9 6 0 )! The w r it e r c o n ten d s th at p a r t of F a u lk n e r 's c o m p le x ity is r e la t e d to "a d e lib e r a te q u e s t fo r fa ilu r e " (p. 2 6 4 ), th a t fa ilu r e b e c a m e fo r h im "a q u est" and "a n eed " (p. 2 6 5 ). ^ S c h n e id e r , p . 75, e m p h a s iz e s th e a r t is t ic g if t 's " in h eren t 90 d e v ic e s in e x p lo r in g h im s e lf in r e la t io n to h is su r ro u n d in g s w a s in e v i ta b le: in lit e r a t u r e , he c o u ld p ro b e h is p r o b le m s r o m a n tic a lly , m y t h i c a lly , and s y m b o lic a lly . A ll th is i s n ot to s a y that F a u lk n e r w a s a w a re o f w h at h e w r o te in ju st th e s e t e r m s ; in d e e d , it s e e m s to m e th a t h is c r e a tiv e c o m p u l s io n s w e r e a s m u c h u n c o n sc io u s a s c o g n it iv e - - p e r h a p s m o r e u n co n s c io u s d u rin g th e e a r ly p h a s e s of h is w o rk . T he faun i s th e d is g u is e w h ich h o ld s th e m ir r o r th ro u g h w h ic h the s e lf - im a g e ca n be c o n te m p la te d and to le r a te d . T he to r tu r e d a m b ig u ity o f the fa u n is a s e lf - p o r tr a it of th e a r tis t: h is p o s itio n b e tw e e n th e life of n a tu re and th e k n o w led g e of p a s t , w ith th e a cco m p a n y in g a ttr a c tio n o f e a ch , th e im p o s s ib ilit y of id e n tify in g w ith b oth , and th e r e s u ltin g te n s io n b e tw e e n th e tw o . L ik e the fa u n , an im m o r ta l, F a u lk n e r in 1919 s e e m s to h a v e lo o k e d upon h im s e lf a s a c r e a to r o f ly r ic a l e x p e r ie n c e s,^® h e n c e i m m o r ta l in th at p o e tr y m a y b e d e a th le s s . L ik e th e fau n, bound and i s o la te d in h is k n o w led g e of p a s t, F a u lk n e r s e e m s to h a v e s e n s e d th a t h e , to o , w a s in e s c a p a b ly f'm a rb le-b o u n d " in th e p a s t of h is ow n South. c a p a c ity fo r tr a n s fo r m a tio n of the u n c o n sc io u s of th e in d iv id u a l in to a m o r e or l e s s u n iv e r s a liz e d (’b a ck to r e a lit y 1) c o n s c io u s ly c o m m u n ic a tiv e w o rk ." C f. F r e u d 's W it and Its R e la tio n to the U n c o n s c io u s . ^ ® S ch neider, p. 1 0 5 , s u g g e s ts the c o n c e p t of a " p r e sid in g f a c u l ty" of "the Id ea l S elf" o r "Super E g o ." S o m e a r t is t s s e e m to be ca p a b le of goin g "far b e y o n d the p r o je c te d 'o u tlin e1 of o r d in a r y id e n tific a tio n , c r e a t o r - lik e , w h ic h , h o w e v e r d a n g er o u s b e c a u s e of it s te n d en cy to o m n ip o ten t s e l f - l o v e , n e v e r t h e le s s in th e o p tim u m situ a tio n , is lik e th e h e lp in g -o u t E g o o f th e a n a ly s t w ho in s e r t s h im s e lf . . . a s a b e n e v o le n t n e u tr a l." CHAPTER IV TH E ST U D E N T "COUNT": U N IV E R SIT Y , M ISSISSIPP I W hen M u rry F a u lk n e r w a s b u s in e s s m a n a g er o f O le M is s and the fa m ily w a s liv in g on campus,'*' it o c c u r r e d to the y o u n g p o et th a t c o u r s e w o r k in c o lle g e w o u ld be c o n v e n ie n t and m ig h t h e lp h im a s a w r ite r . S o m e h e s ita tio n on F a u lk n e r 's p a r t w a s n a tu r a l. He h a d n ot fin is h e d h ig h s c h o o l and v e r y lik e ly f e lt th a t he w ou ld n o t be a c c e p te d as a c o lle g e stu d en t. But h is v e te r a n 's s ta tu s co m b in ed w ith S ta r k Y ou n g's in t e r c e s s io n m a d e p o s s ib le h is e n r o llm e n t a s a s p e c ia l stu d en t on S e p te m b e r 19, 1919. He to o k F r e n c h , m a k in g "A1 s" both s e m e s t e r s , and S p a n ish , m a k in g " B 's." A fte r r e c e iv in g a "D" in E n g lis h th e f ir s t s e m e s t e r , he d ro p p ed th e c o u r s e th e fo llo w in g s e m e s t e r w ith a fa ilin g 3 g r a d e . H e w ith d rew c o m p le te ly fr o m th e U n iv e r s ity N o v e m b e r 5 ,1 9 2 0 . S to n e, In te r v iew N o. 1, He m e n tio n s that th e h o m e sto o d on the p r e s e n t s it e of th e A lu m n i H o u se , ju s t o ff th e w e s t s id e of the c a m p u s d r iv e . ^ R o b ert C ough lan, "T he P r iv a te W o rld of W illia m F a u lk n er ," L ife , P t. 2 (O cto b er 5, 1953), p. 61, g iv e s th e in fo r m a tio n on Y oun g, au th or of So R ed th e R o se and fo r m e r p r o f e s s o r at the U n iv e r s ity . S e e W illia m F a u lk n e r 's "Student R eco rd , U n iv e r s ity o f M i s s i s sip p i," N o. 6057 (O xford , M is s is s ip p i) . A rth u r W ig fa ll G reen , " W illia m F a u lk n er at H o m e," S ew a n ee R e v ie w , 4 0 :3 0 0 , S lim m er 1932, m e n tio n s F a u lk n e r 's w ith d r a w a l fr o m E n g lish th e se c o n d s e m e s t e r w ith a fa ilin g g r a d e , b u t F a u lk n e r 's r e c o r d g iv e s no in fo r m a tio n on th is p o in t. The n o ta tio n o f F a u lk n e r 's w ith d r a w a l h a s b e e n m ad e in p e n c il in w h a t sh o u ld b e th e c o lu m n fo r th e sc h o o l y e a r 1920 - 21 , a lth o u g h the c o lu m n 91 92 D u rin g th e s e fifte e n m o n th s a s a s p e c ia l stu d en t h e con tin u ed to w r ite e x te n s iv e ly . He had r e a s o n to hope fo r a s u c c e s s f u l fu tu re as a p o e t. N ot on ly had he c o m p o se d th e M arb le F a u n , but h e had r e c e iv e d $ 1 5 .0 0 fo r "L1 A p r e s-M id i d'un F a u n e," p u b lish e d in the N ew R ep u b lic on A u g u st 6 , 1 9 1 9 .^ T his p o em w a s r e p r in te d in th e c o lle g e w e e k ly 5 n e w sp a p e r , The M is s is s ip p ia n , in la te O ctober; and d u rin g th e n ex t s e v e n m o n th s F a u lk n er p u b lish e d a to ta l of th ir te e n p o e m s , one sh o r t s to r y , and tw o m is c e lla n e o u s p ie c e s . A ll of th e s e e x c e p t one p o em a p p e a r e d in the M is s is s ip p ia n /* The p o e m s a v e r a g e tw en ty lin e s e a ch , but v a r y a g r e a t d e a l in s ty le and tr e a tm e n t. A l i s t of th e p o e m s in c h r o n o lo g ic a l o r d e r w ill p r o v e h e lp fu l fo r fu rth e r r e f e r e n c e s : "C athay," N o v e m b e r 12, 1919, p- 8 , co l. 1. " S ap h h ics," N o v e m b e r 2 6 , 1919, p . 3, c o l. 3. "A fter F ifty Y e a r s ," D e c e m b e r 10, 1919, p . 4, c o l. 5. "Une B alad H ed es [s i c ] F e m m e s P e r d u e s ," J an u ary 2 8 , 1920, p . 3, c o l. 3. " N aiad s' Son g," F e b r u a r y 4, 1920, p. 3, c o l. 5. " F a n to u ch es" [ s i c ], F e b r u a r y 25, 1920, p. 3, c o l. 3. " C lair de L u n e," M arch 3, 1920, p . 6, c o l. 3. is not d ated and no c o u r se w o r k h a s b een in d ic a te d a s h a v in g b egun in th e fa ll s e m e s t e r of 1920. H is age is g iv e n a s "21" and h is n am e is s p e lle d F a u lk n er , W illia m " (it a lic s added ), e v e n though h is p u b lic a tio n s in the cam p u s w e e k ly , The M is s is s ip p ia n , d u rin g 1 9 1 9 -2 0 a re a ll sig n e d , a s r e g a r d s th e su r n a m e , " F a lk n er." The la c k of G r e e n 's in fo rm a tio n on F a u lk n e r 's w ith d r a w a l fr o m E n g lish the se c o n d s e m e s t e r w ith a fail-^ in g g ra d e, a lo n g w ith the ad d itio n of th e "u" to h is su r n a m e , s u g g e s ts e ith e r th a t G r e e n 's in fo rm a tio n is fa u lty , o r --w h a t s e e m s to be a s tr o n g e r p o s s ib ilit y - - t h a t F a u lk n e r 's r e c o r d h a s b e e n m is ta k e n ly co p ied fo r the sc h o o l r e c o r d s or a t le a s t p a r tia lly r e v is e d . ^ P . 24. C oughlan, P t. 2, p. 62, n o tes the su m a s the f ir s t m o n ey F a u lk n er e a rn ed fr o m h is w r itin g s . ^ O ctober 2 9 , 1919, p. 4, c o l. 3. ^The e x c e p tio n is "T o a C o -e d ," p u b lish e d in th e c o lle g e y e a r book, O le M is s , and n oted in th e fo llo w in g l i s t . 93 "A P o p la r /' M a rch 17, 1920, p . 7, c o l. 3. " S tr e e ts," M a rch 17, 1920, p. 2, c o l. 3. "A C lym en e" [ s i c ], A p r il 14, 1 9 2 0 , p. 3, c o l. 4. "S tu dy," A p r il 21, 1920, p. 4, c o l. 3. " A lm a M a ter," M ay 12, 1920, p . 3, c o l. 5. "To a C o -e d ," O le M is s (the y e a rb o o k o f th e U n iv e r sity of M is s is s ip p i), 1 9 1 9 -1 9 2 0 , XX IV , 174 S ix of th e p o e m s ca n be lo o s e ly c la s s if ie d a s e x p e r im e n ts in tr a d itio n a l v e r s e fo r m s . The f ir s t p o em of th is group, "C athay," co n ta in s o th er fe a tu r e s w h ic h r e la te it to the p o e m s w h ich ap p ear to be e x te n s io n s of the M arb le F a u n , and it w ill be tr e a te d la te r in g r e a te r d e ta il. " S ap p h ics" is a s tr o n g im ita tio n of S w in b u rn e's ad a p ta tio n of the fo r m in E n g lish . The p a r a lle l of t it le s is o b viou s enough , but a c o m p a r is o n of S w in b u rn e's f i r s t tw o sta n z a s w ith th o se of F a u lk n er in d i c a te s th at F a u lk n e r 's w o rk is r e a lly a ra th e r c lo s e r e p h r a sin g o f so m e of S w in b u rn e's sta n z a s: Sw inburne F aulkne r So it is : s le e p c o m e s n ot on m y e y e lid s N or in m y e y e s , w ith sh a k en h a ir and w h ite A lo o f p a le han ds and lip s and b r e a s t s of ir o n , So sh e b eh o ld s m e . And y e t though s le e p c o m e s not to m e , th e r e c o m e s A v is io n fro m th e fu ll sm o o th b row of s le e p , The w h ite A p h rod ite m o v in g u n bou nded B y h e r own h a ir . . . . A ll the n igh t s le e p ca m e n ot upon m y e y e lid s , Shed n ot dew , n o r sh o o k n or un c lo s e d a fe a th e r , Y et w ith lip s sh u t c lo s e and w ith e y e s of iro n Stood and b e h e ld m e . T hen to m e so ly in g aw ake a v is io n C am e w ith o u t s le e p o v e r th e s e a s and to u ch ed m e , S o ftly to u ch ed m in e e y e lid s and lip s; and I to o , F u ll of th e v is io n . . . . 7 Stone, In te r v iew No. l, m e n tio n e d th e str o n g Sw inburne in flu e n c e on F a u lk n e r 's e a r ly w o rk . F a u lk n er h im s e lf w r o te of it in " V e r se Old and N a sc e n t: A P ilg r im a g e ," S alm agu n d i (M ilw au k ee, 1932), p. 34. O r ig in a lly pub. in D oub le D e a le r , 7 :1 2 9 -1 3 1 , A p r il 1925. ® P oem s (P h ila d elp h ia , [n .d .]), pp. 8 2 -8 4 . F a u lk n e r 's s ix sta n z a s a r e draw n f r e e ly fro m S w in b u rn e's tw en ty , but m o s t s p e c if ic a lly fr o m the f ir s t , se c o n d , th ird , fifth , sev e n th , th irtee n th , and e ig h te e n th s ta n z a s. F a u lk n e r 's lin e s fo llo w th e b a s ic s ta n z a ic p a t te r n w ith its th ree v e r s e s o f e le v e n s y lla b le s e a ch and a fo u rth of fiv e s y lla b le s , b u t on ly n in e of th e tw e n ty -fo u r lin e s a r e p r e c is e ; he is m o re s u c c e s s f u l in m e e tin g th e d em an d s of th r e e sp o n d ees in e a c h sta n za , and o c c a s io n a lly a c h ie v e s m e t r ic a l u n its of tr ip le a c c e n ts . T he oth er p o e m s of th e tr a d itio n a l group a re "A fter F ifty Y e a r s ," "Study," "A lm a M a ter," and "To a C o -e d ." Of th e s e a ll but "Study" a re s o n n e ts . "Aft- e r F ifty Y ea rs" is an Ita lia n so n n et, but w ith in its fo r m sh o w s in flu e n c e s o f both R o m a n tic ism ("H er h o u se is em p ty and h e r h e a r t is old. . . .") and F r e n c h S y m b o lism ("he f e e ls h e r p r e s e n c e lik e sh e d sce n t. 9 . . ."). S w in b u rn e's m u s ic a lit y is e c h o e d in su ch r ic h ly a llit e r a tiv e lin e s a s "And w ith h is bound h e a r t and h is young e y e s bent / A nd blind. . . ." The rh ym e sc h e m e o f the n ex t p o em of the grou p , "A lm a M ater," is an a lte r n a tin g du ple rh y m e in th e o c ta v e , em p lo y in g so m ew h a t str a in e d a n a p ests and ia m b s. The p o em is h e a v ily R om a n tic and p r e se n ts an aw kw ard te n s io n b e tw e en a r e lia n c e upon fr o th y p o e tic d e v ic e s (" v o ic e le s s d r e a m s" ) and a r e v e r s io n to h a ck n ey ed p h r a sin g s and a r c h a is m s ("W ithin th y p o r ta ls" and " S u c c e ss" d ra w s "us in fin ite ly / Up w ard ly" [ s i c ]). A n in te r e s tin g c o m b in a tio n of Ita lia n and S h a k e sp ea r e a n so n n et d e v ic e s , "T o a C o-ed " u s e s th r e e r h y m es in th e o c ta v e rath er T he poem e c h o e s V e r la in e 's "Apr&s T r o is A n s." N ot on ly is i t c o n s is te n t in fo r m and rh y m e, but th e m e la n c h o ly to n e and th e m e of r e tr o s p e c tiv e s a d n e s s - - t h e h o p e le s s p a ra d o x of lo v e p a st and y e t la s t ing* p h y s ic a lly d ead y e t s p ir itu a lly a liv e - - a r e a ls o in te r e s tin g c o g n a te s. The p o e m s d iffe r in th at F a u lk n e r 's is m o r e p a r tic u la r iz e d and le s s r e la te d to ta lis m a n ic d e v ic e s . B oth, h o w e v e r , co n clu d e w ith str o n g than the c u s to m a r y tw o, and th e s e s t e t c o n c lu d e s w ith a cou p let. R u n yan h as p o in te d out th e o v e r to n e s o f R o s s e t t i's Sonnet IV, " L o v e sig h t," in F a u lk n e r 's im a g e of a g ir l's th r o a t and in th e lin e "T he tw ilit h id d e n s t illn e s s of you r e y e s ." ^ The p o e m is c la s s ic a lly a llu s iv e w ith r e f e r e n c e s to V en u s, H e le n , B e a tr ic e , T h a is, and A th e n s. T he fin al p o e m of th is tr a d itio n a l grou p , "Study," d e p ic ts a stu d en t to rn b etw een r o m a n tic and a c a d e m ic d e s ir e s . It is an in c o m p le te m o o d p ie c e , in the f i r s t sta n z a r e ly in g h e a v ily upon a lin k a g e b e tw e e n n atu re an d sex , in th e sec o n d r e fe r r in g to a h o m ey p a s to r a l s c e n e , and th en in the th ird add ing im a g e s th a t h in t of th e M arb le F au n (" b la ck b ird ," " g old en w ired th ro a t," and " m ello w n o te" ). But th e p oem fa d e s aw ay on an in h a r m o n io u s ton e w ith an in tr o s p e c tiv e fin a l sta n z a th a t is so p o o r ly c o n c e iv e d a s to c r e a te an in e p tly c o m ic e ffe c t: (. . . . E x a m s a re n ea r A nd m y th o u g h ts u n co n tr o lla b ly W and er, and I cannot h e a r The v o ic e te llin g m e th at w o r k I m u st, F o r e v e r y th in g w ill be th e sa m e w h en I am dead A th o u sa n d y e a r s . I w is h I w e r e a b u st - - A ll h ea d .) F iv e of the p o e m s illu s t r a t e F a u lk n e r 's c o n c u r r e n t in t e r e s t in the F r e n c h la n g u a g e and h is co n tin u in g in t e r e s t in F r e n c h S y m b o lism . The q u o ta tio n at th e b eg in n in g of "Une B alad H ed es F e m m e s P e r d u e s " [ s i c ], "M ais ou so n t le s n ie g e s [ s i c ] d 'an tan [?]" is fr o m V illo n 's " B a l- b lfa cto ry im a g e s . ^ " F a u lk n e r 's P o e tr y ," p. 2 7 . R unyan, p. 26, a ls o n otes th a t the; p oem w a s r e p r in te d b y L o u is C och ran , w ho r e f e r r e d to it as F a u lk n e r 's " fir st w o rk ," in th e C o m m e r c ia l A p p ea l (M em p h is, T e n n e ss e e ), N o v e m b er 6 , 1932. 96 la d of th e L a d ie s of B ygon e T im e s" (" d es d a m es du tem p ja d is" ). T he p o em b e g in s I sin g in the g r e e n dusk F a tu o u sly Of la d ie s that I h ave lo v e d - - C ^ ne fa it r ie n t H ela s, v r a im e n t, v r a im e n t The lin e of F r e n c h is o b v io u s en ou gh , but " g r e e n dusk" h in ts s tr o n g ly of th e F r e n c h S y m b o lists' s y n e s th e tic d e v ic e s . O ther lin e s in d ic a te a R o m a n tic tr a d itio n (" sta r d u st fr o m th e ir w in g s" ), but the S y m b o list te c h n iq u e s d o m in a te the p ie c e (e .g ., " e th e r e a l sed u ctio n " ). The o th er p o e m s of th is grou p , " F a n to u ch es" [ s i c ], " C la ir de L une," " S tr e e ts," and "A C ly m en e" [ s i c ] a r e a ll tr a n s la tio n s fr o m P au l V e r la in e . F a u lk n e r 's v e r s io n s a r e in te r e s tin g to c o m p a r e w ith V e r la in e 's o r ig in a ls in F r e n c h , fo r th e y r e v e a l n ot on ly a sk e tc h y k n ow led ge of F r e n c h , b u t a l so an e a r ly d e te r m in a tio n , if not p e r v e r s e n e s s , of the a r t is t to go h is ow n w a y w ith h is own d e v ic e s , e v en in the fa c e of a ra th e r stro n g d e m an d fo r lit e r a lit y . F a u lk n er r o m a n tic iz e s th e f ir s t sta n z a of " F a n to u c h e s" [ s i c ], th en d is to r ts the se c o n d , e s p e c ia lly the fifth lin e , r e n d e r in g the s ta n z a 's o r ig in a l F r e n c h , C ependan t 1'e x c e lle n t d o cteu r B o lo n a is c u e ille a v e c le n te u r ... D es s im p le s p a r m i l'h e r b e brun e. as P a u l V e r la in e , " F a n to c h e s," S e le c te d P o e m s , tr a n s . C. F . M a cIn ty re (B e r k e le y , 1948), p. 66 . A ll oth er q u otation s in th is s e c tio n in F r e n c h a r e ta k en fr o m th is v o lu m e , b a se d on V e r la in e 's C E uvres p om p l& tes, T o m e I (P a r is , 1900), an d w ill be in d ica ted b y page n u m b e r s in p a r e n th e s e s . 97 And th e d o cto r of B ogona [ s i c ] In h is sk u ll cup [ s i c ] and k im o n o S e e k s fo r s im p le s w ith p a le av id e y e s . He e x a g g e r a te s the th ird sta n z a , a su b tle "en q u €te," to r ea d "to m e e t h er lo v e r ," and in the l a s t sta n z a r e f e r s the p ir a te -lo v e r * s p a s s io n b a ck to th e g ir l h e r s e lf . Ign orin g a m e ta p h o r ic a l r e fe r e n c e to a n ig h tin g a le , he in v e n ts h is ow n la s t lin e in F r e n c h , "La lu n e ne g rad e au cu n e r a n - cu n e," an e n ig m a tic u n d e r sta te m e n t. The n e x t p o em , " C lair de L une," b eg in s w ith a sta n z a w h ich g e n e r a lly p a r a lle ls V e r la in e 's , e x c e p t fo r a unique w o rd " fa n ch ise," w h ich is n ot c le a r . The sec o n d sta n z a is fa ir ly c o n s is te n t, but th e th ird adds an o r ig in a l a d je c tiv e to " le s a r b r e s ," w h ich e m e r g e s a s " sle n d e r tr e e s " and p r o d u c e s an o r ig in a l p e r s o n if i ca tio n . The fou n tain s o f V e r la in e " sob w ith e c s ta s y " (" sa n g lo te r d 'e x - ta s e l e s je ts d 'eau " ), but F a u lk n e r 's fo u n ta in s "sob in s ilv e r e c s t a s ie s ." The p o e m " S treets" c o n s is t s of s ix te e n lin e s d iv id ed in to fo u r sta n z a s of tr ip le r h y m e s and a r e fr a in " D an so n s la gigue'." F a u lk n er tr a n s la te s the r e fr a in "D ance the Jig " in it a lic s or b o ld er n ew sp a p er p r in t than the o th er sta n z a ic lin e s , but w ith o u t the e x c la m a tio n m a r k . O ther d if fe r e n c e s e s t a b lis h a p a ttern : F a u lk n er p la y s dow n w h e r e V e r la in e p la y s up, o r , c o n v e r s e ly , h e p la y s up w h ere V e r la in e p la y s dow n. F o r e x a m p le , th e r e is no e q u iv a le n t in F a u lk n e r 's p o em of " su rto u t" in V e r la in e 's f i r s t lin e . On th e o th er hand, F a u lk n er r o m a n tic iz e s w h ere V e rla in e is m o r e su b tle: h e s e e s V e r la in e 's e y e s " P lu s c la ir s " as " F a ir e r th an ." A gain , " m a licie u x " b e c o m e s in tr a n s la tio n " m a lic io u s s u b tle tie s ," alth ough rh y m e s e e m s to be the c o n tr o llin g m o tiv e in th is situ a tio n . O ther illu s tr a tio n s of an o v e r p a r tic u la r iz a tio n of im a g e s o c cur w ith "fa<jons v r a im e n t," w h ich F a u lk n er tr e a ts a s " dainty a ir s ," 98 and " d e s o le r un p au vre am an t," w h ic h b e c o m e s " fill p o o r h e a r ts w ith t e a r s ." W here V e rla in e is m e ta p h o r ic a l, F a u lk n er b e c o m e s c o n c r e te , as in th e th ird sta n z a in w h ich " b a ise r de sa b ou ch e en fle u r " i s t r a n s fo r m e d to "to k is s h er m outh"; th en , c o n tr a r iw is e , th e sim p le p h r a se " e lle e s t m o r te k m on coeu r" is r e n d e r e d "to h e r m y h e a r t . . . d eaf and b lin d ." T he tr a n s la tio n of th e fin a l sta n z a d iv e r g e s c o m p le te ly fro m V e r la in e 's , alth ou gh th e ton e and m ea n in g a r e so m ew h a t p a r a l le le d : V e r la in e F a u lk n er Je m e s o u v ie n s , je m e s o u v ie n s H er fa c e w ill e v e r be D es h e u r e s e t d e s e n tr e tie n s , In m y m in d 's in fin ity E t c ' e s t le m e ille u r d e s m e s b ie n s . She b rok e th e co in and g a v e it h a lf to m e D a n so n s la gigue'. (p. 136) D an ce th e J ig The tw e n ty -lin e p oem "A C ly m en e" [ s i c ], fo llo w s th e fo rm and m e t r ic s of V e r la in e 's "A C lym & ne," but th e u su a l d iffe r e n c e s e x is t , F a u lk n er h eig h ten in g and lo w e r in g h is e ffe c t s a lm o s t c o n v e r s e ly to th o se of V e r la in e . Thus "Ch6 re" in th e f ir s t sta n z a b e c o m e s " D e a r e st." F a u lk n er r e n d e r s the th ir d sta n z a im a g e " l'a r o m e in sig n e" a s "your h id d en s lig h tn e s s ," and the o r ig in a l "odeur" b e c o m e s " p erfu m e." V e r la in e 's e x p le tiv e "Ah!" is ig n o r e d a lto g e th e r b y F a u lk n er , w ho la te r r e v e r s e s "tout to n § tre" to " a ll m y b ein g" ( it a lic s added). In the la s t sta n z a F a u lk n er c a r r ie s o ver a " N im b es" r e fe r e n c e fr o m V e r la in e 's n e x t- to - la s t sta n z a , b le n d s it w ith " a lm es c a d e n c e s ," and g iv e s u s "A n im b u s th at d a n c e s." T he w o rd " c o r r e sp o n d a n c e s" is p e r s o n a liz e d a s "m y h e a r t," and th e co n clu d in g lin e s Induit m o n coeur su b til, A in s i s o it - il! (p. 74) a re lo o s e ly r e n d e r e d So s h a ll it e v e r be T h rou gh in fin ity . The tw o p o e m s " N a ia d s' Song" and "A P o p la r" m a k e up a th ir d grou p c lo s e ly r e la te d to th e M a rb le F a u n . " C ath ay," w h ic h I h ave g ro u p ed a s a tr a d itio n a l ly r ic , r e p r e s e n t s th e d e e p e s t th e m a tic e x te n s io n of the v o lu m e of p o e tr y , w h ile th e o th er tw o p o e m s r e f le c t s i m i l a r it i e s and o v e r la p p in g s of i t s im a g e s . A p ie c e of f o r t y - e ig h t lin e s in o c to s y lla b ic c o u p le ts , " N a ia d s' Song" fe a t u r e s , lik e th e M a rb le F a u n , w o o d la n d n y m p h s, a g a r d e n , a tw ilig h t w o r ld of d r e a m s and s le e p , a n d a sig h in g P a n c o m p le te w ith p ip e s . W ood lan d im a g e s p r e d o m in a te , and s o m e of th em ca n be e x a m in e d in p a g in a l r e la tio n to th e im a g e s o f th e M a rb le F a u n : " g lis t e r e d h a ir" (c f. p. 11); " g a rd en le v e l a s a cup / W ith th e su n lig h t th a t f i l l s it up" (cf. p . 40); and "C om e y e s o r r o w fu l and k e e p / H ere in u n m e a su r e d d rea m and s le e p " (cf. p . 4 9 ). F a u lk n e r 's f r e e v e r s e p o e m , "A P o p la r ," c o n ta in s te n lin e s w h ic h v a r y in s y lla b le s fr o m a m in im u m of fiv e to a m a x im u m of fo u r te e n . T he e x te n d e d m eta-r p h or of a p o p la r a s a you n g s le n d e r g ir l s u g g e s t s a r e c u r r in g m e ta p h o r of th e M a rb le F a u n .^ H a v in g b r ie fly r e v ie w e d th e p o e m s F a u lk n er p u b lish e d d u rin g h is f ir s t y e a r a t the U n iv e r s it y o f M is s is s ip p i, I f e e l it w ou ld now be h e lp fu l to e x a m in e in d ep th one o f th e m o s t r e p r e s e n ta tiv e and p r o m is - i in g p ie c e s . A n e x p lic a tio n of su c h a p o e m , w h en c o n s id e r e d w ith a g e n e r a l r e v ie w o f th e o th e r s , w ou ld g iv e b a la n c e to b rea d th and p e r fo r m a th r e e fo ld s e r v ic e : it w o u ld h e lp to p la c e th e w o r k i t s e lf in to a c o n te x t 12 C f. th e M a rb le F au n p o e m s b e g in n in g on pp. 11, 20, 25, 41, and 46. 100 of a lit e r a r y tra d itio n ; it w ou ld ten d to r e la te F a u lk n er to th at tr a d itio n , c la r ify in g h is c r e a tiv e d e v e lo p m e n t at th e tim e ; and it w o u ld illu m in a te the p o em it s e lf , p a r tic u la r ly it s th em e, w h ich m a y in tu rn s u g g e s t new in s ig h ts in to F a u lk n e r 's th o u g h ts, m o tiv a tio n s , and b e h a v io r d u rin g a p e r io d w hen h is id e a s w e r e b eg in n in g to fin d a r t is t ic e x p r e s s io n . To r e c a p itu la te b r ie fly , F a u lk n er had w r itte n th e n in e te e n p ie c e s of th e M a rb le F au n in A p r il, M ay, and Jun e, 1919. In A u g u st, "17 A p r e s-M id i d'un F au n e" h ad a p p ea r e d in the N ew R e p u b lic ; and in O cto b er, a fte r F a u lk n er had e n r o lle d a t O le M is s , it w a s r e p r in te d in th e M is s is s ip p ia n . "C athay" fo llo w e d a s th e f ir s t of th e p o e m s o r ig in a l ly p u b lish e d in the ca m p u s w e e k ly . A s su ch , it s e r v e s a s a kind of b r id g e b e tw een th e p r o d u ctio n of the sp r in g and su m m e r of 1919 , and th a t w h ich fo llo w e d in th e w in te r and s p r in g of 1920. I h a v e p la c e d the p o e m in a tr a d itio n a l g rou p in g, alth ou gh it b e a r s so m e c lo s e r e la tio n s h ip s to the M a rb le F a u n . F in a lly , the fa c t th at it a ls o e m p lo y s a n u m -, b e r o f F r e n c h S y m b o list d e v ic e s m a k e s it ty p ic a l of a ll th r e e grou p s w h ic h I h a v e p r e v io u s ly tr e a te d . I h a v e c h o s e n it fo r an e x a m in a tio n in d ep th not o n ly b e c a u s e of its r e p r e s e n ta tiv e c h a r a c te r , h o w e v e r , but a l s o b e c a u se o f c e r ta in q u a litie s of n a tu r a ln e ss , o r ig in a lity , and th em a tic v ig o r la c k in g in s e v e r a l of th e oth er p ie c e s . The te x t of "C athay" f o l- : lo w s: L in e No. 1 Sharp s a n d s, th o se b lin d d e s e r t h o r s e m e n [,] sw e e p 2 W h ere y e s te r d a y t a ll sh in in g c a r v e ls 3 Sw am in th y g o ld en p a st. W hat F a te f o r t e lls [ s i c ] 4 T hat now the w in d s go lig h tly , le s t thy sle e p 5 B e b ro k en ? W h ere on ce th y sp le n d o r s r o s e , 6 A nd c a s t th e ir b a n n e rs b r ig h t a g a in st the sky; 7 Now go th e em p ty y e a r s in fin ite ly 8 R ich w ith th y g h o s ts . So is it: w ho so w s 9 The s e e d of F a m e m a k e s th e g r a in fo r D eath to rea p . 101 L ine N o. 10 W a n d er e rs, w ith f a c e s sh a rp as s p e a r s , 11 And flo c k s and h e r d s on a im le s s m u ffle d fe e t 12 D rift w h e r e g litte r in g k in g s w en t th ro u g h ea ch s t r e e t 13 Of th y w h ite v a n ish e d c it ie s [, ] and th e y e a r s 14 H ave c lo s e d lik e w a lls behin d th em . S till 15 T hrough the sp a n of l e s s e r d e s tin ie s , 16 We s ta r e , w h e r e on ce th y s ta r s b u rn ed , le s t lik e th e s e , 17 We lo s e fa ith . T h ey know th e [e ] not, N or w ill 18 To s e e thy m a g ic e m p ir e w h en the H and 19 T h r u sts b a ck th e c u r ta in of the sh iftin g sand, 20 On sin g in g s t a r s and liftin g g old en h ill. B e fo r e an y a ttem p t is m ad e to r e la te th e p o em to a lit e r a r y t r a d ition o r to in te r p r e t it, b oth a p a r a p h r a se of th e w o rk on th e le v e l of in fo r m a tio n and so m e c o m m e n t on its fe e lin g and ton e m ig h t le a d us to a m o r e a c c u r a te and c o m p le te u n d ersta n d in g o f w hat F a u lk n er w a s a t tem p tin g . The te r m "C ath ay," in a d d itio n to b e in g m o r e c o n n o ta tiv e ly p r e c is e th an, s a y , "C hina," d e s ig n a te s that C hina of th e M id d le A g e s, 13 Cf. F a u lk n e r 's ty p e s c r ip t of "C athay" le n t fo r th e F a u lk n er e x h ib itio n in th e P r in c e to n U n iv e r s ity L ib r a r y , M a y -A u g u st, 1957, r e p r o d u ce d in J a m e s B. M e r iw e th e r , T he L ite r a r y C a r e e r of W illia m F a u lk n er (P r in c e to n , 196 1 ), F ig . 3. M e r iw e th e r n o te s th at th e ty p e s c r ip t " d iffe r s s lig h tly fr o m the p u b lish e d v e r s io n " (p. 8 ). A c tu a lly , th ere a r e m an y c h a n g e s, th e m o s t sig n ific a n t of w h ich a r e th e fo llo w in g : the su b stitu tio n of "her" fo r th ee" th rou gh ou t th e p oem ; th e u s e of lo w e r c a se in 'Tate" fo r the p e r s o n ific a tio n in 1. 3; th e ch an ge of " ca st" in L 6 j to "shook" ; the a d ju stm e n t of the in v e r te d "So is it" in 1. 8 to "So it is" ; the u n ify in g in 1. 14 of th e a r s is " S till" in ste a d of drop p in g and in d en tin g it; the s u b sta n tiv e ch an ge of "T hrough the span" in 1. 15 to "T hrough spawn"; th e te n s e ch an ge of "T hey know th e [e ] not" in 1. 17 to "T hey knew h e r not"; and o th er a lte r a tio n s w h ich I h a v e in d ica ted , th e ad d itio n of the c o m m a s in lin e s 1 and 13. In te r e s tin g ly , th e ty p e s c r ip t r e ta in s tiie m is s p e lle d " fo r te lls " in 1. 3. B e c a u se of th e la r g e n u m b er of p h a n g e s --to o m a n y fo r a ty p e s e tte r , e d ito r , or p r o o fr e a d e r to m a k e - - it s e e m s lik e ly th a t F a u lk n er r e v is e d th e p o em s o m e tim e a fte r it w a s p u b lish e d in T he M is s is s ip p ia n . 102 r e f e r r in g s p e c if ic a lly to th e kin gdom e s t a b lis h e d in n o rth C hina in th e ten th c e n tu r y , and s u g g e s tin g the a d v e n tu r e s of M a rco P o lo , w ho in t r o d u ced th e w o rd to th e O c c id e n t in th e la t e th ir te e n th c e n tu r y .^ T h u s, th e " sa n d s" m a y w e ll be th o s e d e s e r t s w h ich c a r a v a n s sp a n n ed in t r a d in g e x p e d itio n s to th e O r ie n t, p e r h a p s th e d e s e r t s of P e r s i a or th e G obi D e s e r t of M o n g o lia , m o v in g a ll the w a y to Sh an gtu in f a r t h e s t C ath ay. It w a s su c h a jo u r n e y w h ic h a b so r b e d th r e e and o n e -h a lf y e a r s of you n g M a rco P o lo 's life : h e w a s a s tr ip lin g of s e v e n t e e n w h en h e le ft V e n ic e , but w a s tw e n ty -o n e w h en h e a r r iv e d in K ub lai K han 's c o u r t. E v e n tu a lly , th e tr a d e of o v e r la n d e x p e d itio n s g a v e w a y to th a t of m o r e e ffic ie n t m e r c h a n t sh ip s w h ic h t r a v e le d the n e w se a w a y s to the O r ie n t. The v e r b " sw eep " is p r e s e n t te n s e an d t e lls u s p r im a r ily th a t to d a y th e sa n d s, lik e n o m a d ic " d e s e r t h o r s e m e n ," b lo w u n se e in g a c r o s s th e r em n a n ts of C athay; w h e r e a s , in th e o ld e r tim e s w h e n C ath ay w a s r ic h , " c a r v e ls " (o r " c a r a v e ls " a s th e w o rd is g e n e r a lly s p e lle d in E n g lish ) s a ile d a lo n g the; o c e a n r o u te s to th e g r e a t c it y . " C a r v el" s e e m s c o rm o ta tiv e ly to be a hap py c h o ic e , b r in g in g to m in d w ith g r e a t e r im a g is t ic p r e c is io n th e u n iq u ely an tiqu e fla v o r of th o s e s m a ll f a s t s a ilin g sh ip s w ith n a rro w , 15 h ig h p o o p s and la te e n s a i l s . W hat p r o p h e tic P o w e r , th e p o e t a s k s , ^ T h e B ook of M a r c o P o lo , m s s . c o p ie s of w h ich w e r e in c ir c u la tio n d u rin g th e tw o c e n tu r ie s a fte r it s f ir s t c o m p o s itio n in a G enoa ^prison, 1 2 9 8 -9 9 . S ee " P o lo , M a rc o ," E n c y c lo p e d ia A m e r ic a n a , 1 9 5 4 , XXII, 3 2 5 -3 2 6 . 1 R I s a y " s e e m s " b e c a u s e th e r e a r e r e s e r v a t io n s , fo r th e te r m r e f e r s p r im a r ily to S p a n ish and P o r tu g u e s e s h ip s of th e 16th c e n tu r y r a th e r th a n to G e n o e se , V en e tia n , or o th er n a tio n s' sh ip s; and the t e r m , of c o u r s e , d o e s n o t c o v e r th e v e s s e l s w h ic h c a r r ie d in tr a -O r ie n ta l m e r c h a n d is e up and dow n th e China c o a s t it s e lf . F a u lk n er e ith e r d id n ot c h e c k h is fa c ts or r e lie d upon p o e tic lic e n s e . 103 c a n g iv e th e r e a s o n th a t to d a y th e w in d s, w h ic h p r o p e lle d th e m e r c h a n t s h ip s to th e F a r E a s t, s e e m s o lig h t th a t tr a d e r s no lo n g e r go to C ath ay, a lm o s t as if t h e y - -a n d h e r e th e w in d b len d s in to a m e to n y m o u s a s s o c ia t io n w ith th e m e r c h a n ts , or r a th e r w ith th o se w h o m a n n ed th e ir v e s s e l s - - d i d not w is h to aw a k en th at s le e p in g E m p ir e ? N o tic e th a t C ath ay is a d d r e s s e d d ir e c tly , "th y s le e p . . . th y s p le n d o r s . . . th y g h o sts" ( it a lic s ad d ed ), th e p e r s o n ific a tio n i t s e lf s u g g e s tin g w h at m a y a p p ea r to be a p arad ox: on th e one hand, a m y s tic a l u n io n w ith th e p a s t i s in d ica ted ; and on th e o th e r , a s e n s e of v is - S .- v is in tim a c y b e tw e e n the s p e c if ic , fa b le d c ity and th e p o e t h im s e lf . H o w ev er, th e u s e of d ir e c t a d d r e s s b e c o m e s m o r e s ig n ific a n t in th e n e x t sta n z a , and I s h a ll r e s e r v e fu r th e r c o m m e n t upon th e d e v ic e u n til th en . A lth o u g h C ath ay w a s o n c e a sp le n d id n a tio n , fa m e d and c o lo r fu l, now th at g lo r y h a s b e e n r e le g a te d to th e p a s s in g y e a r s w h ich s e e m to go on e n d le s s ly , p e o p le d b y m y s te r io u s s p ir it s . It i s tr u e th at w h o e v e r b u ild s h is own fa m e a c t u a lly c a u s e s the m a n y fr u it s of that fa m e to be g a th e r e d e v e n tu a lly in to th e h a r v e s t o f D eath. The s e c o n d s ta n z a c o n tin u e s: to d a y th e n o m a d s, w ith th e ir b e l lig e r e n t ly sh a r p fe a t u r e s , q u ie tly "drift" w ith th e ir flo c k s of d o m e s t i c a te d a n im a ls in s e e m in g p u r p o s e le s s n e s s , or in a j e a lo u s ly g u a rd ed , d e e p ly in tr o v e r te d lim b o . T he " m u ffled fe e t" of th e h e r d s s u g g e s ts a str ik in g c o n tr a s t w ith , sa y , th e jin g lin g w a r b o o ts of K u b lai K h an 's s o l-; d ie r s , an im p lie d c o m p a r is o n c o n s is t e n t w ith the m a r t ia l a s p e c t s of the' a n c ie n t c iv iliz a tio n . Such c o n c r e t e n e s s in im p lie d c o m p a r is o n i s str e n g th e n e d by th e lin e s w h ic h fo llo w , in d ic a tin g th a t " w a n d e r e r s," an d by im p lic a tio n th e p e a s a n ts w ith th e ir g o a th e r d s, m o v e o v e r th e 104 g le a m in g a la b a s te r ru in s of g r e a t c i t i e s . The p a s s in g y e a r s sin c e C a th a y 's z en ith a r e a s so m a n y w a lls sh u ttin g h e r aw ay in th e p a s t. E v e n so , w e fin d o u r s e lv e s at the p r e s e n t m o m en t look in g b ack to th at an tiq u ity , so b r illia n t th en , it s e e m s , th a t the v e r y sta r s a b ove th e E m p ir e a p p ea red to b e a fir e . W e do not m e r e ly g iv e a b ack w ard g la n c e , but a re m o m e n ta r ily e n tr a n c e d . Our v is io n e x c e e d s d e lig h t, a d m o n ish in g us not to b e c o m e c o m p la c e n t as h a v e the c iv iliz a tio n s of " le s s e r d e s tin ie s ," w h o se p eo p le n e ith e r u n d ersta n d n or d e s ir e to g a z e upon the m y s tic a l g r e a tn e s s of C a th a y 's p a s t - - e v e n at th o s e r a re t im e s w h en the "Hand" of im a g in a tio n and a s p ir a tio n u n v e ils th e c o n c e a lin g san d s w h ich h ave lo n g a g o b u ried C athay, o p en in g to v ie w that c it y 's g r e a tn e s s and fa m e. The m agn itu d e o f su ch m o m e n ts is s o o v erw h elm in g th a t it c a n be e x p r e s s e d o n ly in w ild im a g in a tio n --in s t a r s w h ich s e e m to sin g , and in the illu s io n of the c it y 's liftin g to w a rd th o s e sin g in g s t a r s , e v en a s the m o o n r is e s to bathe th e su rro u n d in g h ills in a g o ld e n lu s tr e c o n s is t e n t w ith th e E m p ir e 's o p u len ce . The p o e t's su b ject, on the le v e l of in fo rm a tio n a lo n e , s e e m s to be the g r e a tn e s s of C a th a y 's p a s t, to w a r d s w h ic h h e d ir e c t s h is im a g i n a tio n . In sp ir ed and la u d a to r y , he is a ls o a b so r b e d w ith in t e r e s t and d e lig h t as h e m o v e s tow a rd th e r e s o lu tio n of a p arad ox: C a th a y 's o n e tim e m a g n ific e n c e r e m a in s a w e s o m e ly th r illin g d e sp ite an in sig n ific a n t and m o r e im m e d ia te p a st w h ic h h a s te n d ed to b u ry it. F a u lk n e r 's a tti- ; tude tow ard h is r e a d e r is b oth g e n e r o u s and d is c r im in a tin g . He d e s ir e s to ren d er the fle e tin g ca p tu re of C a th a y 's l'a g e d 'o r in a ly r ic a l m y s tiq u e , and a ls o to sh a r e it, but know s th a t only th e ra re "W e" a r e ca p a b le of doing so . T he p ron ou n o b v io u sly in c lu d e s th e p o et h im s e lf , but 105 w h at is or w h at a r e its o th er c o m p o n en ts? T hat "We" c o u ld ap p ly to "C athay" (fo r m e r ly "thy," la te r " th ee" ) d o es not s e e m lik e ly u n le s s w e a r e w illin g to a s c r ib e n a r c is s is t ic t r a it s to th e p e r s o n ific a tio n and a k in d of v a g u e ly d is to r te d n e c r o p h ilia to th e p o e t. N or do th e e a r lie r m e n tio n e d " W a n d erers" s e e m d ir e c t ly to p a rta k e of "W e," fo r th e y and th e p e a sa n ts a r e a p p a ren tly as u n a ffe c te d by the v is io n a s th e v e r y a n i m a ls th ey h e r d , alth ou gh " W an d erers" a re b y g e n e r a l in fe r e n c e , p e r h a p s, in d ir e c tly in v o lv ed , as if th e y m a y be a d r ift w ith in th e d rea m , h a v in g b e c o m e in u red to it. It s e e m s fa r m o r e lik e ly th at "We" a p p lie s to b oth the a c u te ly p e r c e p tiv e and s e n s it iv e , and the tr u ly aw a re and co n cern ed ; fo r "T h ey," lo g ic a lly the in s e n s itiv e and u n co n cern ed , do not r e a lly u n d ersta n d or e v e n d e s ir e to s e e th e v is io n s of th e p a st w h ic h c a r r y the so u l e c s t a t ic a lly sk yw ard . F o r th e h a sty r e a d e r , th en, th e p o e t's in ten tio n m a y s e e m to be a s im p le p o e tic trib u te to th e p a s t fa m e of C athay; but th e c a r e fu l read -: e r b e c o m e s s te a d ily a w a r e th at F a u lk n er is fa r m o r e in ten t upon esta b -: lis h in g a d e lic a te , if n o t e th e r e a l, m o o d , th e a p p eal of w h ic h is to th e im a g in a tio n w h e r e m y s t e r y m o m e n ta r ily su p p la n ts r a tio n a lity and b e c o m e s so r e a l th at the u p p er c u r r e n t o f u n iv e r s a l, r a th e r than m e r e ly s p e c if ic , a p p lic a b ility is r e n d e r e d . W ith u n iv e r s a lity , of c o u r s e , a w id e r ran ge of p e r s o n a l id e n tific a tio n s is im p lie d . T h u s, C athay b e c o m e s a c a ta ly tic sy m b o l of a n tiq u ity, g iv in g r is e to th at m y s tic a l f e e l- j in g w h ich a ll to o few a r e fo rtu n a te en ou gh to e x p e r ie n c e , e v e n w h en surp ro u n d ed by a r tifa c ts of a g r e a t c iv iliz a tio n , m u ch l e s s w h en le ft to v o y a g e a lo n e upon str a n g e s e a s of th ough t. W ith in u n iv e r s a lity a re m a n y fa c e ts of the w h o le . The h e a v y 106 s e n s e of th e p a s t, th e s tr u g g le to id e n tity — a v a n is h e d b ea u ty r e c a lle d and h e ld in tr a n s ie n t s u s p e n s io n - - a s w e ll a s c e r ta in c h o ic e s o f im a g e r y and p h r a sin g s u g g e s t th a t F a u lk n e r , p e r h a p s u n c o n s c io u s ly , w a s s e e in g in C ath ay th e v a n is h e d s p le n d o r of h is ow n r e g io n to w h ic h h e w a s so d e e p ly a tta c h e d .^ T h at fa b le d a n te -b e llu m South upon w h ic h , lik e C athay, "the y e a r s / H ave c lo s e d lik e w a lls " h a s fou nd it s w a y m an y t im e s in to F a u lk n e r 's c o n s c io u s a r t is t r y . H e h a s o ften d r a m a tiz e d the 17 c o n flic ts and te n s io n s b e tw e e n th e w a y s o f th e o ld South and th e new. T hat th e p o e t's n o r th -c e n tr a l M is s is s ip p i q u a lifie d as a r e p r e s e n ta tiv e of th e C otton K in g d o m 's h ig h e s t a c h ie v e m e n t o f c iv iliz a tio n , and that it s c o lo r fu l w a y of life w a s o b lite r a te d by th e C iv il W ar and th e R e c o n s tr u c tio n h a s b e e n e s t a b lis h e d in th e f i r s t c h a p ter; but e v e n th o u g h the F a lk n e r fa m ily w a s p a r t and p a r c e l of th a t c e le b r a te d a n tiq u ity , and s u ffe r e d , p a r tic u la r ly d u rin g th e la te R e c o n s tr u c tio n , it w o u ld be d iffi c u lt to su p p o rt a t h e s is th at th e fa m ily , a ll th e w a y down to i t s m o st n o ta b le s c io n , w a s d e e p ly and c o lle c t iv e ly tr a u m a tiz e d by th e c o n flic ts of th e day. A s h as b e e n p o in te d ou t, m a n y of th e s t o r ie s w ith w h ich W ard L. M in e r , The W o rld of W illia m F a u lk n e r , p . 113, p r e s e n ts r e v e a lin g su p p o rt in m a in ta in in g th a t F a u lk n e r is lik e th e le g e n d -: a r y A n ta e u s, w hom H e r c u le s c o u ld not d e fe a t as lo n g as he r e m a in e d i h c o n ta c t w ith th e grou n d , h is m o th e r ; th at " a s lo n g a s he m a in ta in s h is in tim a te a s s o c ia t io n s w ith O xford , he m a in ta in s h is str e n g th a s a w r it - ■ e r . . . . T he m o r e h e d e p r iv e s h im s e lf of h is a r t is t ic r o o ts , th e w e a k e r h e is a s a w r ite r ." T o in d ic a te h o w c l o s e ly F a u lk n er id e n t if ie s w ith his; iwork, s e e C ynth ia G r e n ie r , "T he A r t of F ic tio n : A n In te r v ie w w ith W il-i iliam F a u lk n e r --S e p te m b e r , 1 9 5 5 ," A c c e n t, 1 6 :1 7 3 -1 7 4 , S u m m e r 1956. ;She q u o te s h im : "I lik e the id e a o f th e w o r ld I c r e a te d b e in g a kind of k e y s to n e in th e u n iv e r s e . F e e l th a t if I e v e r to o k it aw ay th e u n iv e r s e a rou n d th a t k e y sto n e w o u ld c r u m b le aw ay. ..." ^ P r i m a r i l y in S a r to r is (1929), T h e Sound and the F u r y (1929), p o r tio n s of L ig h t in A u g u st (1932), A b s a lo m , A b s a lo m 1 . (1936), The U n v a n q u ish e d (1938), and Go D ow n, M o se s an d O ther S t o r ie s , in c lu d in g F a u lk n er as a boy w a s " sa tu ra ted " d e a lt w ith the o ld C o lo n el, tow a rd w hom th e p o e t's attitu d e w a s a c u r io u s b len d of th e r e a lis t ic and r o m a n tic . A ll th is i s p a r t of th e s o c ia l and h is t o r ic a l b ack d rop of the young F a u lk n e r 's c r e a tiv ity and m a y s u g g e s t a b e tte r u n d ersta n d in g of w hat he m a y h a v e b een tr y in g to sa y in "C athay," alth ou gh at the sa m e tim e one sh o u ld h a s te n to a d m it th e m a n y oth er fa c e t s of co m p eten t in te r p r e ta tio n w h ich the p o em o f f e r s . P u r su in g th is h y p o th e tic a l d ir e c tio n w h ich 1 h ave c h o sen , h o w e v e r , w e s e e th e th em e of p a s t i t s e l f e m e r g in g m o r e p r o m in e n tly w ith the d is tin c tio n of a s p ir itu a l v ita lity im p ly in g the b e s t fe a tu r e s of the p ast; th e p o em in d ic a te s th at th e o b lig a tio n to the p a s t is e s s e n t ia l to th o se s e n s it iv e few w ho u n d e rsta n d and w ant to s e e th e old g ra n d eu r in its fin e s t s e n s e - - l e s t th ey " lo se fa ith ." The ta c itu r n " W an d erers," then , su sp e n d e d in a d r e a m lik e e x is t e n c e , take on id e n tify in g fe a tu r e s w h ich no s ig n ific a n t fe a t of th e im a g in a tio n is r e q u ir e d to s e e , r e la tin g to the d ir t fa r m e r s o f th e r e g io n , the " red n eck s" w ho, s o m e tim e s in a v e r y lit e r a l s e n s e , ten d th e ir liv e s t o c k am on g th e ru in s of a fa lle n c iv iliz a tio n . Such an in te r p r e ta tio n --n o t at a ll im p o s s ib le , e v en if w e are lim ite d to in te r n a l e v id e n c e - - c la r if ie s the d is c r im in a tiv e n atu re of "We" in the fin a l sta n z a and g iv e s add ed p r e c is io n to the p o te n tia lly tr a g ic m ea n in g of " lo se fa ith ." M en m a y be b ea ten , th e p o e t s e e m s to sa y , but not d e fe a te d as lo n g a s th e r e r e m a in s c lo s e to th e e s s e n c e of th in g s a p e o p le , th e r e s o u r c e fu l "We" w h o a re a w a r e , w ho " w ill" to s e e th e e te r n a l v a lu e s th at tr a n s c e n d tim e and p la c e . F a u lk n e r 's "We" The Bear (1942). 108 s u g g e s ts su c h a fo r c e of str en g th and r e lia n c e , p e r h a p s, as th e J e w ish 18 n a tio n 's " v e ry s m a ll rem n an t" r e f e r r e d to in Isa ia h . Thus "C athay," w h en r e la te d to F a u lk n e r 's r e g io n a l back grou n d and s o c ia l and c u ltu r a l m ilie u , ta k e s on added s ig n ific a n c e and p r o p h e tic o v e r to n e s . It s e e m s to b e the p o em of a you n g S o u th ern er lo o k in g out of th e n a rro w c o n fin e s of h is ow n fr u s tr a tio n s and c o n flic ts , and fin d in g , p e r h a p s u n c o n s c io u s ly , h is ow n r e g io n 's p a s t in th e p a s t of C ath ay and h is ow n in d iv id u a tio n IQ in th a t p a tte r n of an o ld e r r is e and fa ll. 7 A d e ta ile d tr e a tm e n t of th e in flu e n c e s on F a u lk n e r 's w o r k of th is 18 Ch. 1, v e r s e 9. F o r a p s y c h o lo g ic a l w o r k w h ich ta k e s a s its t h e s is a n ew a p p lic a tio n of the te r m , s e e G era ld S y k e s, The H id d en R em nant (N ew Y ork, 1962). T he author d e fin e s the te r m "R em nant" as "a group of p e o p le w h o have s u r v iv e d or c a n su r v iv e a g r e a t c a t a s t r o phe . . ." (p. 195). T he m e m b e r of su ch a group is d iffe r e n t fr o m m o s t o th er p eo p le about h im , for he " tr ie s to f u lf ill h im s e lf w ith out e ith e r m a s s p ro p s or m in o r ity p ro p s . . ." (p. 1 9 6 ). If F a u lk n er w a s in d eed u n c o n sc io u s ly r e f le c tin g h is ow n South in a c o n s c io u s tr e a tm e n t of "C athay," th e n h is a c tio n is in h a rm o n y w ith th at of th e s e n s it iv e a r tis t w ho is a m e m b e r of th e R em n an t, fo r the " R em nan t m u st stan d a fu ll e x p o su r e to th e u n c o n sc io u s . . . b e c a u se o n ly th us ca n it a tta in it s fu ll sta tu re" (p. 4 7 ). S ee a ls o the r e la te d m a t e r ia l in "T he R ev o lt of the W r ite r s," pp . 1 6 5 -1 6 9 - F o r an in te r e s tin g r e v ie w of th is book, s e e N ic h o la s S a m sta g , " E lite v s . S u b stan d ard P r o to p la sm ," S atu rd ay R e v ie w , M a rch 10, 1962, pp. 27, 37. l^ C . Q' Jung, " P sy c h o lo g y and L ite r a tu r e ," M od ern M an in S e a r ch of a Soul (N ew Y ork, [n .d .]), p. 164, s a y s th a t " p r im o rd ia l e x p e r ie n c e " i s th e u ltim a te so u r c e o f th e p o e t's c r e a tiv ity , that it i s r e la te d th rou gh th e p o e t's " c o lle c tiv e u n c o n sc io u s ," i.e ., "a c e r ta in p s y c h ic d is p o s itio n sh ap ed b y th e f o r c e s of h e r e d ity ; fro m it c o n s c io u s n e s s h a s d e v e lo p e d . . ." (p. 165). The p o e t's " d isp o sitio n in v o lv e s an o v e r w e ig h t of c o lle c tiv e p s y c h ic lif e as a g a in s t the p e r s o n a l. A r t is a kin d of in n ate d riv e th a t s e iz e s a hum an b e in g and m a k e s h im its in stru m en t" (p .. 169). See a ls o R end W ellek and A u stin W a rren , " L ite r a tu r e and P s y ch o lo g y ," T h eo ry of L ite r a tu r e (N ew Y ork, 1956), pp . 7 1 -7 2 . " In sp ir a tion " is a " tr a d itio n a l nam e fo r th e u n c o n sc io u s fa c to r in c r e a tio n ." A p p lied to "a sh a m a n , p ro p h et, or p oet," it s u g g e s ts th at "he m a y in v o lu n ta r ily be 'p o s s e s s e d ' by s o m e a n c e s t r a l or to te m ic s p ir it-c o n t r o l . . . the w o r k s e e m s w r itte n th ro u g h one" (p. 74). 109 p e r io d w ill n ot o n ly h e lp to p la c e th e w o rk in to a lit e r a r y tr a d itio n , but it sh o u ld a ls o c la r ify h is lit e r a r y d e v e lo p m e n t, t e llin g us not o n ly w hat he w a s rea d in g but a ls o w h a t th at r ea d in g m e a n t to h im . In sh o r t, h a v in g tr e a te d th e b read th o f in flu e n c e s in the M is s is s ip p ia n p o e m s , I sh a ll now attem p t to p rob e th e depth of in flu e n c e s at w o rk in "C athay." I h a v e a lr e a d y d is c u s s e d R un yan's and G a r r e tt's a r t ic le s on F a u lk n e r 's e a r ly p o e tr y . In ad d ition , H yatt W aggon er h a s c a lle d a tten tio n to the r o m a n tic in flu e n c e s in F a u lk n e r 's p o e tr y , sp e c ify in g " n in eteen th - c en tu r y r o m a n tic ism " in r e la tio n to th e M a rb le F au n p o e m s . W ard L. 20 M in e r r e f e r s to the v o lu m e a s " a lm o st g u sh in g ly r o m a n tic." I have a lr e a d y in d ic a te d th at F a u lk n er w a s rea d in g both th e R o m a n tic w r ite r s and th e F r e n c h S y m b o lists b e fo r e th e c o m p o sitio n of "C athay," but n oth in g c o n c r e te h a s b e e n w o rk ed out w ith th e p o e tr y it s e lf to su p p o rt th e v a lid ity of su ch a ssu m p tio n s a s th o se of W aggon er and W ard, w h ich a r e m ad e w ith o u t su p p o rtin g e v id e n c e . E x a m p le s of R o m a n tic im a g e r y w h ich o ccu r in F a u lk n e r 's "C athay," th en , d e s e r v e ou r c lo s e s t a tten tio n . In e x a m in in g th e im a g e r y of K ea ts and S h e lle y , R ich a rd H a r te r F o g le h a s a ttem p ted to b rin g about a ra p p r o c h e m e n t of in d iv id u a l v ie w p o in ts in e s ta b lis h in g th e s e n su o u s c h a r a c t e r is t ic s of im a g e s , c la s s if y in g th em u n d er the h ea d in g s of " v is u a l, a u d ito ry , ta c tu a l, o lfa c to r y , g u sta to r y , o r g a n ic , k in e s th e tic , 21 and m o to r." We o r d in a r ily th in k o f p o e tr y of R om a n tic c la s s if ic a t io n 20 W a g g o n er, W illia m F a u lk n er fr o m J e ffe r s o n to the W orld (L ex in g to n , 1959), p. 268; M in er in T he W orld of W illia m F a u lk n er (D u rh am , 195 2 ), p. 122. ^ The Im a g e ry of K eats and S h e lle y (C h ap el H ill, 1949), p. 29. 110 a s b e in g p a r tic u la r ly r ic h and v a r ie d in th e s e ty p e s of s e n su o u s im a g e s . M C athay" h a s no o b v io u s o lfa c to r y or g u s ta to r y im a g e s , bu t it d o e s c o n ta in a ll th e o th e r s , and in a d d itio n a n u m b er of e v o c a tiv e " im a g e s of fa in t s u g g e stio n " and " tim e im a g e s ," w h ic h in d ic a te F r e n c h S y m b o lis t 22 d e v ic e s . T he fo llo w in g illu s t r a t io n sh o u ld in d ic a te th e th o ro u g h e x te n t to w h ic h F a u lk n e r 's p o e m le n d s i t s e l f to lit e r a r y c la s s if ic a t io n b a s e d on im a g e a n a ly s is and r e la tio n s h ip s : IM AGE A N A L Y SIS O F F A U L K N E R 'S "CATH AY" L in e N o. V is. A ud. T a c . Kin. M ot. O rg. T im e T o ta ls 1 X X X - X 4 2 X X 2 3 X - X X X 4 4 X X X x - 4 5 X X X 3 6 X X X 3 7 X X X 3 8 x - X X 3 9 X X 2 10 X X X 3 11 X X 2 12 X X - X X - 4 13 X X 2 14 X x - X 3 15 X - X 2 16 X X 2 17 X - 1 18 X 1 19 X X X x - X 5 20 X X X - X x - 5 T o ta ls 14 4 4 8 12 5 11 58 x - in d ic a te s a fa in t s u g g e s tio n of th e p a r tic u la r im a g e . 22 E dm und W ilso n , A x e l's C a s tle , p . 13, p o in ts out the r e la t io n sh ip b e tw e e n F r e n c h S y m b o lism and th e d e v ic e of s y n e s t h e s ia o r "a c o n fu sio n b e tw e e n th e p e r c e p tio n s of th e d iffe r e n t s e n s e s ." I h a v e a l r e a d y p o in te d to th e s im ila r it y b e tw e e n th e R o m a n tic s and S y m b o lis ts , I l l Of th e to ta l 58 im a g e s o f "C athay" lis t e d a b o v e , l e t u s s u b tr a c t both th o s e 11 of tim e and the 12 o f fa in t s u g g e s tio n . T h is le a v e s u s a to ta l of 35 im a g e s a r r iv e d at by F o g le 's m e th o d s. H is ow n c o n c lu s io n s a re th e s e : that fo r 1722 of K ea ts' lin e s th e r e w e r e 1065 im a g e s , o r a r a tio of .6 2 im a g e s p e r lin e; and th a t fo r 2 3 1 8 o f S h e lle y 's lin e s th e r e w e r e 1781 im a g e s , or a r a tio of .7 7 im a g e s p e r lin e (pp. 3 4 -3 5 ). It is t h e r e fo r e q u ite e v id e n t th at F a u lk n e r 's "C athay" q u a lifie s a s h e a v ily s e n s u ou s fr o m the sta n d p o in t of q u a n tity of im a g e s a lo n e , fo r he h a s p r o d u ce d a r a tio of 1.67 im a g e s p e r lin e , e x c lu d in g th o s e of tim e and fa in t su g g e s tio n . The c o m b in a tio n of im a g e s of d iffe r e n t s e n s e s , or s y n e s th e s ia , a n o th er n o ta b le a ttrib u te of both R o m a n tic and F r e n c h S y m b o lis t p o e t- 2 3 r y , is illu s t r a t e d in F a u lk n e r 's " fa c e s sh a r p a s s p e a r s " (v is u a l- ta c tu a l); " sp le n d o r s r o s e and c a st" (v is u a l- m o t o r - k in e s t h e t ic ) ; " sta r s bu rn ed" (v is u a l-ta c tu a l); " c u r ta in of th e sh iftin g sand" ( v is u a l- m o t o r - o r g a n ic ); " sin g in g s ta r s " (a u d ito r y -v is u a l); and " liftin g g o ld e n h ill" ( v is u a l- m o t o r - k in e s t h e t ic - o r g a n ic ) . T h u s, th e r ic h e m p lo y m e n t of both e s p e c ia lly th ro u g h a k in d of d is e m b o d ie d im a g e r y . C h a r le s M auron, " In trod u ction ," M a lla r m e : P o e m s (N ew Y o rk , 195 1 ), p. 2 3, q u o te s D iv a g a tio n s in r e la tio n to M a lla r m e 's p u r p o s e s of su g g e stio n : "A lin e , a fe w b r ie f v ib r a tio n s , th e s u g g e s tio n i s c o m p le te ." W e lle k and W a rren , pp . 7 1 -7 2 , s a y th at th e d e v ic e 's " attitu d e and s ty le a r e c h a r a c t e r is t ic o f th e B a ro q u e and th e R o m a n tic p e r io d s . . . ." I have a lr e a d y n o ted th e r e la t io n s h ip b e tw e e n F r e n c h S y m b o lism , R o m a n tic ism , and th e d e v ic e of s y n e s t h e s ia . A n e x a m p le o f th e co n fu s io n of the s e n s e s is th e r e f le c t io n of a s o n g up to th e s m ile o f a p a le V a sc o in M a lla r m ^ 's "Au S eu l S o u ci de V o y a g e r . . .": " P ar so n chant r e f le t ^ ju sq u 'a u / S o u r ir e du pJile V a sc o ." F a u lk n e r 's "C athay" is a str o n g ech o of M a lla r m e 's p o e m , c o m p le te w ith a p lu n g in g c a r a v e l (in th e e a r lie r p ie c e " P lo n g ea n te a v e c la c a r a v e lle " ), a lth ou gh th e m a tic a lly M a lla r m ^ 's p o e m is m o r e lim it e d th an F a u lk n e r 's . 112 s e n s u o u s and s y n e s th e tic im a g e r y in d ic a te a str o n g b a s is fo r su p p o rtin g the p o e t's R o m a n tic m e th o d o lo g y in "C athay." Now le t u s ex a m in e "C athay" fo r e v id e n c e of so m e of the g e n e r a lly a c c e p te d " ro m a n tic c h a r a c t e r is t ic s " of a b r o a d e r s c o p e d The m o s t ob viou s i s p ro b a b ly a ch o ic e o f m a te r ia l fr o m the p a s t, s p e c if ic a l ly th e M iddle A g e s . A s S h e lle y 's A d o n a is is " m ad e one w ith N a tu re," F a u lk n e r 's im p lie d p r o ta g o n is t --a co m p o n en t of the "W e," p e r h a p s th e p o e t h i m s e l f - - i s m ade on e w ith the p a s t, the C ath ay of M a rc o P o lo 's tim e and b e fo r e . The R o m a n tic p a r a lle l of th e tw o e x a m p le s g o e s b e yon d th e p a st a s such and l i e s in th e e x a lta tio n of sp ir it, w h a t m a y be t e r m e d the su p e r n a tu r a l or e x tr a s e n s o r y . T he p h y sic a l c ity of C athay m a y p e r ish , an d A don ais m a y give up h is e a r th ly body in a "dust to th e d u st" sen se; b u t . . . the p u re s p ir it s h a ll flow B a c k to the b u rn in g fo u n ta in w h en ce it ca m e, A p o r tio n of th e E te rn a l, w h ich m u s t glow T h rou gh tim e an d ch an ge, u n q u en ch ab ly the s a m e . . . . In a p a r tia lly co g n a te s e n s e , then, C athay and a ll that it i s e m b le m a tic a l of h a v e " o u tso a r e d the sh ad ow of ou r night." Though it w ould be r id ic u lo u s to c o m p a r e the tw o p o e m s as A rth u r O. L o v e jo y , "On th e D is c r im in a tio n of R o m a n tic ism s," E s s a y s in the H is to r y of Id ea s (N ew Y ork, I 9 6 0 ), pp. 2 2 8 -2 5 3 , m a in ta in s th a t in d iv id u a l c h a r a c t e r is t ic s can n ot a c c u r a te ly be u se d a s k e y s to s u c h an a m o rp h o u s c o n c e p t, that " R om an tic" a s a term i s "far too ro u g h , cru d e, u n d isc r im in a tin g " (p. 253). R e a liz in g the d a n g e r s w h ich | lie in m y ow n a p p ro a ch , I h ave n e v e r t h e le s s u s e d so m e o f th e g e n e r a lly : a ck n o w led g ed d e lim itin g fe a tu r e s of th e m a s s o f e a r ly n in e te e n th - c e n tu r y p o e tr y , p a r tic u la r ly that o f K eats and S h elley , at th e sa m e tim e i a ck n o w led g in g th a t the m e th o d is s u b je c t to c r it ic is m s w h ic h a r e in h e r e n t in su ch u se fu l g e n e r a liz a tio n s . The s e v e r a l c h a r a c t e r is t ic s of R o m a n tic ism w h ic h I h a v e e m p lo y ed a r e lis t e d w ith o th e r s in T h ra ll and H ib b ard 's A H andbook to L ite r a tu r e , r e v . C. Hugh H o lm a n (N ew Y o rk , I960), p p . 4 2 9 -4 3 2 . 113 anything a p p roach in g s ig n ific a n t a n a lo g u e s, "C athay" d oes p o s s e s s a th e m a tic c o r r e sp o n d e n c e to K e a ts' "Ode on a G r ec ia n Urn" in th at s p ir itu a l c r e a tio n s e m e r g e fr o m o b jects o f the p a st: s p e c if ic a lly , K eats c r e a te d a sh im m e r in g , e te r n a l v is io n of a r t and tr u th out of th e im a g e of an A ttic urn; F a u lk n er , the v is io n of h o p e out of a s p ir itu a lly r e c o n str u c te d and s t ill im p a lp a b le C ath ay. W hich h eig h t is the g r e a t e r , of c o u r s e , is s c a r c e ly a rg u a b le an d c e r ta in ly not th e p o in t h e r e . R ath er, the a b s tr a c tin g and e x a m in in g o f su ch r e la tio n s h ip s w ill s e r v e , often o n ly in a m in o r w ay p e r h a p s, to h elp us p la c e the p o e m in to a lit e r a r y tr a d itio n w h ic h w e c a ll " R o m a n ticism ." " G old en p ast" (1. 3) and " gold en h ill" (1. 20) m a y fa in tly ech o K ea ts' " r e a lm s of gold" in "On F ir s t L ook in g in to C h ap m an's H o m er," but the c ir c u m s t a n c e s of s e a r c h and d is c o v e r y w h ic h p rod u ce th e m ood of a w e -s t r u c k w on d er w ith w h ic h F a u lk n e r 's p oem c o n c lu d e s is a m u ch m o r e su b sta n tiv e c o n s iste n c y : We s ta r e . . . I On sin g in g s t a r s and liftin g g o ld en h ill. F a u lk n e r 's r e f e r e n c e s to " F ate" and " F a m e," un dyin g " sp le n d o r s," the " flo c k s," im a g e s of r e g a lity r e la t e d to a d e c a y in g p a s t, and th e " cu r tain " m eta p h o r a p p lie d to tim e and death m a y a ll be v e rb a l e c h o e s of A d on ais ( s e e sta n z a s 1, 44, 9, 7, and 8 r e s p e c t iv e ly ) . One c o u ld find th e s e and m a n y o th e r s in a h o s t of r e p r e s e n ta tiv e ro m a n tic p o e m s , fo r ■ ta k en out of co n tex t th e r e is lit t le unique about t h e m - - e s p e c ia lly su ch fig u r e s a s "b righ t a g a in s t the sk y ," " s ta r s b u rn ed ," and " R ich w ith . , . g h o sts." "C athay" te n d s tow ard ia m b ic p e n ta m e te r lin e s , alth ou gh of the 114 tw en ty lin e s o n ly s e v e n a r e c h a r a c te r iz e d by str o n g m e c h a n ic a l r e p e t i tio n . F a u lk n er u s e d nin e lin e s in th e f ir s t sta n z a , e le v e n in the seco n d , and v a r ie d h is m e te r fr e q u e n tly w ith a d a c ty l, t r o c h e e s , sp o n d e e s , and tr ip le ic t u s e s . Som e r e a s o n s fo r m e t r ic a l d iv e r g e n c e s s e e m grou n d ed in an e x c e lle n t u n ion of fo r m , sound, and s e n s e , a s fo r e x a m p le in H ave c lo s e d lik e w a lls behin d th em . S till T hrough th e sp an of l e s s e r d e s tin ie s . . . . in w h ic h " S till," o r d in a r ily the fin a l a r s is in th e fo o t of w h ich "T hem " is the t h e s i s , is d rop p ed in to a new lin e , r e c e iv in g in the p r o c e s s an a u r ic u la r e m p h a s is , v is u a l d istin c tio n , and is o la tio n w h ich a r e h ig h ly c o n s is t e n t w ith m o r e th an one of the w o r d 's d en o ta tio n s, it s tr a n s itio n a l fu n ction , and its rh y th m ic p u r p o se s . O ther lin e s , h o w e v e r , s e e m s tilte d by c o m p a r iso n , a s if in ten tio n had gone aw ry. A r e p e a te d em p lo y m en t of e n ja m b em en t is b a la n ce d by fr e q u e n t c a e s u r a s , givin g th e p o em flu id ity of ton e w ith o u t m o n o to n y . O c c a sio n a lly , h o w e v e r , th e lin e is id io s y n c r a tic , a s in Of th y w h ite v a n ish e d c i t i e s [ ,] and th e y e a r s H ave c lo s e d lik e w a lls . . . w h ere s e n s e and e m p h a s is w ould s e e m to d em an d a co m m a a s I have in d ic a te d . S in ce th e r e a r e oth er e r r o r s in th e p u b lish e d p o e m , it is p o s s ib le th at 1. 14 is a p r in t e r 's a lig n m e n t e r r o r and th at the s p e llin g of " fo r te lls" (1. 3) m a y be a p r o o fr e a d e r 's slip , lik e the m is s in g co m m a in 1. 13 a b o v e. B ut the u n u su a l s ta n z a ic d iv isio n , m e tr ic a l v a r ia tio n s , sh ifts of lin e len g th , and e x c e p tio n a l in d en ta tio n s, a p p a ren tly of a p u r p o s e fu l n a tu r e, a r e un iqu e enough to in d ica te th at F a u lk n er at th is sta g e of h is lit e r a r y c a r e e r w a s e x p e r im e n tin g w ith v e r s e fo r m s in the tr u ly R o m a n tic tr a d itio n . 115 T hus fa r , I h a v e e x a m in e d F a u lk n e r 's R o m a n tic and F r e n c h S y m b o list i m a g e r y - - it s fr e q u e n c y , p r im a r ily , r a th e r th an it s q u a lit y - - and c o n s id e r e d , as th e y a p p ly to "C ath ay," h is r e a d in e s s to s e e k m a t e r ia ls in th e p a s t, to d e a l w ith the s p ir itu a l or e x t r a s e n s o r y , and to e x p e r im e n t w ith m e t r ic a l f o r m s . In m u ch R o m a n tic and S y m b o lis t p o e tr y , to o , th e r e is an in d ir e c tio n w h ic h m e a n in g fu lly e lu d e s th e m e r e ly c o n c r e te and p r o s a i c - - a n in d ir e c tio n w h ic h s y m b o liz e s and fa in tly s u g g e s t s . I h a v e a lr e a d y in d ic a te d in th e illu s t r a t io n on p . 110 th at of th e 58 im a g e s in "C ath ay," 12 a r e of "faint su g g e stio n " and 11 a r e s o a b s t r a c t or n o n -s e n s u o u s a s to be te r m e d " tim e im a g e s ." In a d d itio n to t h e s e , th e r e a r e a t l e a s t fiv e e x a m p le s of s y n e s t h e s ia w h ic h ten d to m e r g e th e a m o rp h o u s w ith th e c o n c r e te and to o r g a n iz e and r e la t e d i s p a r a te im a g in a l e le m e n t s . I h a v e a lr e a d y m e n tio n e d F a u lk n e r 's a c h ie v e m e n t of u n iv e r s a lity in "C ath ay." J u st a s B lak e e n d e a v o r e d "to s e e th e w o r ld in a g r a in of sa n d ," F a u lk n e r , it s e e m s lik e ly , tr ie d to s e e so m e th in g of a ll g r e a t p a s t a g e s in C a th a y 's, in c lu d in g th a t of h is ow n South. Such an in t e r p r e tiv e v is io n ta k e s u s fa r b ey o n d the m e r e ly s e n s o r y and a llo w s u s to 25 p e r c e iv e a k in d of E in ftlh lu n g o p e r a tiv e in th e young p o e t. T h u s, C athay, th e p la c e w r itte n of, b e c o m e s a ty p e o f c o m p le x sy m b o l c h a r a c t e r iz e d b y a m o r e th an m e d io c r e , if not e x tr a o r d in a r y p o w e r of ; | 25 I F o g le , p . 2 2 , a ttr ib u te s th e te r m to R o b ert V is c h e r and o th e r s , and n o te s it " co u ld b e e ith e r a p r o je c tio n of th e e g o in to th e o b je c t or a m e r g in g of th e e g o w ith th e o b je c t." The p o in t at w h ic h su c h em p a th y (" o n e -fe e lin g " ) b e c o m e s id e n tity i s , of c o u r s e , n ot c le a r ; but a c lo s e r e la tio n s h ip d o e s s e e m lo g ic a l. Jung, M o d ern M an . . ., p. 164, s a y s th a t th e " p r im o r d ia l e x p e r ie n c e . . . ca n n o t b e fa th o m e d , and th e r e fo r e r e q u ir e s m y th o lo g ic a l im a g e r y to g iv e it fo r m . . . ." It is a " deep p r e s e n tim e n t th a t s t r iv e s to fin d e x p r e s s io n ." 116 r a m ifie d su g g e stio n . Such an a w a r e n e s s c a lls fo r th th e R o m a n tic ists' fa m ilia r t r a it o f e x p r e s s in g th e ir su b je c tiv e th o u g h ts. I h ave t r ie d to in d ic a te how F a u lk n e r m a y u n c o n sc io u s ly h a v e b e e n doing ju st t h is , but h is e s t h e tic su b tle ty and m eth o d s of in d ir e c tio n --le a r n e d in la r g e p a rt fr o m th e R o m a n tic s and S y m b o lis t s - - g iv e e v id e n c e of w h at W ellek and W a rren , f o l lo w in g K ea ts, h ave n oted a s th e q u a lity of " n eg a tiv e c a p a b ility ," i .e ., th e p o e t’s " o p en n ess to the w o r ld , the o b lite r a tio n of h is c o n c r e te p e r - 26 so n a lity ." E v en at the p e r io d n e a r th e b eg in n in g of h is lit e r a r y d e v e lo p m e n t, F a u lk n e r 's c o n s c io u s a r t is t ic c o n tr o l w a s su c h th at h is in d iv id u a l u n c o n sc io u s se ld o m in tru d e s aw kw ardly; r a th e r , its su b sta n ce u n d e rg ir d s h is su r fa c e te c h n iq u e s, im p a rtin g to th em an u n u su a l p o w er of r a m ifie d su g g e stio n . In sh o r t, F a u lk n er w a s w r itin g out of e m o tio n a l 27 d ep th s, but h is u n c o n sc io u s o v e r flo w w a s b a la n ce d by c o g n itiv e a r t. F a u lk n e r 's s u r fa c e te c h n iq u e s a r e e v id e n t in h is R o m a n tic and S y m b o list m eth o d s in "C ath ay." If w e a r e to c o n s id e r th e p oem r e p r e se n ta tiv e of th e M is s is s ip p ia n group and, to so m e ex te n t, th e M a rb le F au n p o e m s w r itte n in th e sa m e y e a r , w e m u st co n clu d e th a t the te r m " im ita tiv e " d o e s not t e ll th e w h o le tru th about th em , fo r it im p lie s 26 T h e o r y of L ite r a tu r e , " L ite r a tu r e and B io g ra p h y ," p. 65. " N eg a tiv e ca p a b ility " is a ls o n o ted by F o g le , p. 106, a s a tit le of a w o rk b y W. J. B a te. N e ith er F o g le n o r B ate e x p la in w h eth er or not th e te r m is o p e r a tiv e o n ly on a c o n s c io u s le v e l; if it is , th en it ta k e s on th e c o n - : n o ta tio n of c o n c e n tr a te d o b je c tiv ity as o p p o sed to u n in h ib ited r e le a s e of: a c o n fe s s io n a l a sp e c t, or th e in tru d in g of th e s u b je c tiv e . ^ S c h n e id e r , The P s y c h o a n a ly s t and th e A r t is t , p . 295, in e s t a b lis h in g the s im ila r fu n ctio n of a r t is t and a n a ly s t in " a lte r a tio n of w hat is r e p r e s s e d and ex ta n t in to a new fo rm . . . in tu itio n and c o g n itio n (k n o w in g ly -fe e lin g and fe e lin g ly -k n o w in g ) m u st o p era te to g e th e r , and in . . . th e ta le n te d a r tis t, th ey do in d eed ." 117 m e r e ly a kind of c o n s c io u s m a n ip u la tio n . D e sp ite the r e a c tio n of c r i t ic s and s c h o la r s w h o , w ith fe w e x c e p tio n s , h a v e g iv en lit t le e v id e n c e th at th ey h ave a c tu a lly e x a m in e d c lo s e ly F a u lk n e r 's e a r ly p o e tr y and its r e la tio n s h ip to lit e r a r y tr a d itio n s , "C athay" r em a in s fa r fr o m b e in g e ith e r " d e r iv a tiv e " in a p e jo r a tiv e s e n s e or " g u sh in g ly r o m a n tic." Such g lib su m m a r ie s a r e too e a s y and do n o t tak e in to a cco u n t th e p o e t's str o n g a w a r e n e s s of a tr a d itio n a l p a s t and th e str u g g le to id e n tify w ith it a s one of the v e r y s m a ll rem n a n ts of th e cap ab le and s e n s it iv e fe w , th e "We" of h is p o e m . T h is is not to sa y th a t "C athay" h a s no fa u lts, or that the youn g p o et m a y not h a v e b een a s in s tr u m e n ta l in p ro d u cin g s o m e of th em a s p r in te r s o r stu d en t p r o o fr e a d e r s . R a th er, I h ave tr ie d to sh ow th a t w h a te v e r s u c c e s s th e p o em p o s s e s s e s lie s c lo s e to both u n c o n sc io u s p o w er and c o g n itiv e ta le n t, c o r o lla r ie s of a m in d that fe w cou ld te r m s u p e r fic ia l or u n o r ig in a l e v e n e a r ly in its d ev elo p m en t. That "C athay" : is e v e n p a r tia lly s u c c e s s f u l in d ic a te s the p r e s e n c e of a ly r ic a l t e c h nique ca p a b le of su p p o rtin g an o v e r b r im m in g u n co n sc io u s p o w er, and both to g e th e r c a r r y the p o e t b eyon d h is d ev elo p m en ta l w e a k n e s s e s . On th e c o n s c io u s le v e l , th en , F a u lk n e r 's a r t is t ic s k ill p r o v e d te c h n ic a lly d om in an t o v e r e m o tio n s g ro w in g r e s t iv e tinder r e s tr a in t. D uring th is p e r io d F a u lk n e r 's b eh a v io r m y s tifie d h is e ld e r s and s e e m e d b iz a r r e to the to w n sp e o p le w h o k n ew , of c o u r s e , w ho th e youn g ; p o et w a s . M any of th em r e m e m b e r e d th e young C o lo n el, w ho h ad run ■ th e lo c a l bank, and a few o ld s te r s d im ly r e c a lle d the o ld C o lo n el and h is e x p lo it s . B ill F a lk n e r 's fa th e r w a s a r e s p e c te d to w n sm a n , now c o m p tr o lle r of th e U n iv e r sity . T he young m a n cam e fr o m an "old 118 fa m ily " w h ic h h ad g a in ed th e r e p u ta tio n of b ein g a r is t o c r a t ic , p rou d , h e a d -s tr o n g , and s o m e t im e s c o ld and d isd a in fu l. A lth o u g h th e F a lk n e r s w e r e fa r fr o m w e a lth y w h en W illia m a tten d e d the U n iv e r s ity , h is m o th e r fe lt it w a s o n ly p r o p e r th a t h e h a v e a d r e s s s u it to w e a r , an d bought p O h im o n e. It w a s a t y p ic a lly p ro u d g e s t u r e . He a s s o c ia t e d w ith P h il S ton e, to o , the b r ig h t you n g la w y e r w h o h a d b e e n to Y a le , and a n o th er lo c a l s c io n . B oth of th e yo u n g fe llo w s h a d b een a w a y to the w a r and, a l th ough th e d e ta ils w e r e a b it v a g u e , it w a s p r e tty c le a r th at B ill F a lk n e r h ad b e e n in v o lv e d in so m e k in d of a c tio n and w a s w ou n d ed . B u t now it s e e m e d h e w a sn 't goin g to l e t an yon e f o r g e t it b e c a u s e he w o r e h is 29 B r itis h u n ifo rm ab ou t th e tow n . It d id n 't s e e m q u ite r ig h t to "show off" th a t w ay, but th en th e F a lk n e r s n e v e r did s e e m to c a r e m u c h about w h a t p e o p le th ou gh t. S o m e tim e s , to m a k e the ta lk w o r s e , he e v e n w o r e a n o v e r s e a s cap and m o n o c le , and at o th e r tim e s h e d r e s s e d up in h is ; n ew s u it w ith s p a ts and c a r r ie d a can e {G reen , p. 3 0 0 ). It w a s n a tu ra l th a t th e tow n sh o u ld r e s o r t to r id ic u le . Su ch o u tr a g e o u s b e h a v io r could; n ot co n tin u e w ith o u t r e tr ib u tio n , so th e to w n sp e o p le and stu d e n ts a lik e ! r e ta lia te d by c a llin g h im "C ount" or "C ount N o 'co u n t." T h is w a s the i b r a s h and r e b e llio u s B ill F a lk n e r , w ho e x te r n a liz e d h is in n e r c o n flic ts .; If he c o u ld not fin d h is id e n tity in th e p a s t, or in w a r h e r o ic s , p e r h a p s h e c o u ld c r e a te an id e n tity a ll h is ow n b y b ein g d iffe r e n t in a s m a ll tow n . 2ft C ou gh lan , P t. 2, p . 58. I ^ C u lle n , O ld T im e s in th e F a u lk n er C o u n try , p. 10, n o te s th at ; "he d is g u s te d a go o d m a n y p e o p le b e c a u s e he w o r e h is B r it is h u n ifo rm so lo n g ," but ad d s th at " p erh a p s th a t w a s the b e s t h e had at th e tim e ." 119 B ut th ere w e r e m a n y oth er B ill F a lk n e r s. One w a s a m o o d y young m a n , a d r e a m e r , w h o, fin d in g lit t le in c o m m o n w ith h is own f a - th er, o ften v is ite d P r o f e s s o r C alvin B row n , h ea d of the D ep a rtm en t of R o m a n ce L an gu ages at th e U n iv e r s ity . H is w ife r e m e m b e r s th at B illy se e m e d to be fa lte r in g and g ro p in g h is w a y at th at tim e . One d ay . . . he to ld m y h u sb an d that h e fe lt h is th in k in g w a s fu z z y and w o n d ered w h eth er stu d y in g m a th e m a tic s w o u ld h elp h im . M y h u s ban d sa id he c e r ta in ly th ought it w o u ld , and s o B illy e n r o lle d in a m a th c o u r se . H e s e e m e d quite in t e r e s t e d th e f ir s t few w e e k s , but th e n he b egan cu ttin g c l a s s e s m o r e and m o r e and fin a lly ju st d r ifted aw a y . He s e e m e d to be th e sa m e w a y in m o s t of the s u b je c ts he to o k . He w a s a g e n tle , n ic e b oy, q u ite shy and s e n s it iv e , and a lw a y s c o u r te o u s. He w a s w o n d erfu l, to o , w ith c h ild r e n . H e!s a lw a y s lik e d c h ild r e n and know n how to talk w ith th em , t e l l th em s t o r ie s , and g e t a lo n g w ith th em ; th ey r esp o n d to h im . That w a s an ou tsta n d in g c h a r a c t e r is t ic I r e m e m b e r fr o m th o se tim e s , and th e oth er w a s h is in te lle c t u a l g ro p in g .30 D uring h is w alk s about th e tow n sq u a r e , he w ou ld s o m e tim e s sta n d and sta r e a b s tr a c tly at th e c o u r th o u se , p e r h a p s fo r s e v e r a l m in u te s on end. In th e e a r ly 1 9 2 0 's, "M ack” R eed r e c a lls , he w o u ld en ter th e drug s to r e w ith h is fr ie n d P h il Stone, w h ere th e tw o w ou ld s o m e tim e s d is c u s s * 2 1 b ook s and w r itin g . In N o v em b er, 1919, h is sh o r t s to r y " L and ing in Luck" a p p ea red in th e cam pu s n e w sp a p e r ( s e e Ch. HI, pp. 6 7 -6 8 ), and h is C anad ian w a r t e x p e r ie n c e s b e c a m e know n, if not a lr e a d y by h is d r e s s , th en by the s to r y . B y the sp r in g of 1920, F a u lk n er had g a in ed th e r ep u ta tio n at th e U n iv e r s ity of b e in g "a c h a r a c te r ." T he fo llo w in g p a ro d y of h is " F a n - to u ch es" [sic] a p p ea red in th e M is s is s ip p ia n on M a rch 3, 1920 (p. 6 ): in C oughlan, The P r iv a te W o rld of W illia m F a u lk n e r , pp. 5 2 -5 3 , ; n o te s th is in te r v ie w . i 31w_ M . R eed , in te r v ie w e d b y m e (O xford, M is s is s ip p i) , 10 A .M ., J u ly 2 7 , 1962. 120 W H O TO UCH ES J u s t a p a ro d y on C oun t's " F a n - to u c h e s [ s i c ] by C ount, J r . H an n ab olu s b r in g s in the d ish F u ll of s a u s a g e and o f fis h And s e t s th em b e fo r e th e S p a n ia rd And th e s a u s a g e of B o lo g n a , In its th in sk in and k im o n o S eek s a la c k ! fo r f o o lis h e a t e r s . W hile th e w ie n e r w u r s t u n cla d G lid es tr e m b lin g fr o m th e p la te To m e e t a r a p a c io u s m ou th. A b ig m o u th fr o m th e S p a n ish m a in , W hose ja w s c r u sh it w ith a s t r a i n - - How lo n g th e old a u cu n e r a c c o o n ! - - J . *2 0 In "T he Iv o ry T o w er," F a u lk n er r e p lie d to th is p a ro d y an d a n o th er, 33 p ro b a b ly "A P a s t o r a l P o e m ," s c o ffin g at th o s e w h o w o u ld d e ig n to 34 w r ite an im ita tio n of an im ita tio n . T h en in "T he 'M u sh ro o m ' P o e t," th e p a r o d is t g a v e at l e a s t one stu d e n t's r e a c tio n to th e p o e t 's a p p e a r a n ce and th e im p r e s s io n h e m a d e d u rin g h is stu d en t d a y s. T he w o rk r e f e r s to a p e c u lia r p e r s o n w h o c a lls h im s e lf W illia m F a lk n e r and w ho fr o m a ll a c c o u n ts u n d o u b ted ly r e s id e s in th e r e m o te v illa g e of O xford , M is s is s ip p ia n , M a rc h 17, 1 9 2 0 , p. 4, c o l. 4. 33 M is s i s sip p ia n , F e b r u a r y 2 5 , 1920, p. 3. It b e g in s "Ah, fa ir on e, w ith th o s e d r e a m y e y e s ," en d s w ith a r e f e r e n c e to a co w , and is S ign ed " J ig g itts 8 r L e s t e r In c." A n o th er h u m o r o u s p o em "U ne B a lla d e D 'une V a ch e P e r d u e ," M a y 12, 1920, p . 3, co u ld p o s s ib ly b e a p a ro d y of! F a u lk n e r 's "Une B alad H e d e s F e m m e s P e r d u e s" [ s i c ] , th e e s s e n c e of h u m o r b e in g th e in c o n g r u o u s co u p lin g o f F r e n c h lo v e l y r ic s and the p a s to r a l m o d e to c e le b r a te th e b ea u ty o f B e tsy , a cow . T he p o em is sig n e d " L o r d g r e y so n ." ^ M i s s is sip p ia n , M a rch 24, 1 9 2 0 , p. 3, c o l. 5 121 M is s is s ip p i. H e sa y s th a t he " fla tte r s " h im s e lf th a t he p o s s e s s e s a s e n s e of h u m o r . I sa y h e f la t t e r s h im s e lf if h e s a y s h e p o s s e s s e s an y th in g . . . . I tr ie d s o h a r d to fin d w h a t the C ount w a s " d r iv in g a t," and o n ly th a t h e h im s e lf, a d m its h is w o r k w a s " stu p id ." ( it a lic s ad d ed ) The a r t ic le c o n tin u e s: I have w r itte n th e p a r o d ie s to g iv e C ount’ s p o e m s a m e a n in g ; and behold', h o w lit tle h e a p p r e c ia te s m y h u m b le e f f o r t s . . . . w o u ld n ’t th is b e a fin e U n iv e r s it y if a ll of u s w e r e to w e a r s a ilo r c o lla r s , m o n k e y h a ts, an d b r illia n t p a n ta lo o n s ; if w e w o u ld " m o se" a lo n g the s t r e e t by th e a id of a w a lk in g p r o p ; and, y e g o d s fo r b id , if w e sh o u ld w h ile aw ay ou r tim e sin g in g of la s c iv io u s k n e e s , sm ilin g lu te s tr in g s , an d v o lu p tu o u s t o e s ? W ou ld n 't th a t b e ju st to o g ra n d ? S in ce C ou n t u s e d a q u o ta tio n , a llo w m e th e s a m e lib e r t y . I u s e th e w o rd s o f L o rd B y ro n , "He b r a y s , th e L a u r e a te of th e lo n g - e a r e d k in d ." - - J . ( it a lic s add ed ) 35 The au th o r of t h is a r tic le and the p a r o d ie s , p o s s ib ly L ou is M . J ig g itts , co u ld n o t s e e m u c h " m ean in g" or s ig n ific a n c e in F a u lk n e r 's w o r k , and th ou gh t it " ju st to o gran d ," or to o p r e c io u s . U n d ou b ted ly, h e a s s o c ia t e d the p o e t 's w o r k w ith h is a n tic a p p e a r a n c e . H e re w a s a r e b e l w ho m a d e i o th er stu d en ts u n c o m fo r ta b le by goin g a g a in s t th e g r a in of c o lle g ia te ! good t a s t e . T he d e ta ils of d r e s s w h ic h th e w r ite r n o te s p r o b a b ly r e fe r to h is o v e r s e a s cap , fla r in g m ilita r y t r o u s e r s , and lik e W h is tle r , 36 B e a r d s le y , and J o y c e , s p o r te d a c a n e . The n a tu r e of th e p a r o d ie s 3 3 One o f th e p a r o d ie s , a s n o ted , i s sig n e d " J ig g itts L e s te r t ic .," a n o th er " J ." 1 a s k e d P h il Stone ab ou t " J ig g itts ," and h e sa id , in j In te r v ie w No. 1, th a t he w a s a b r illia n t you n g m a n fr o m C an ton , M is s is -: s ip p i, w h o b e c a m e a la w y e r and w ho d ie d s e v e r a l y e a r s a g o . A n ote t i tle d " J ig g it[t]s P la n s E x te n d e d T o u r," M is s is s ip p ia n , M a rch , 17, 1922, p. 4, m e n tio n s th a t L ou is M . J ig g itts w a s a R h o d es s c h o la r fr o m O le i M is s and w a s th e n to u rin g E u r o p e . W h o 's W ho in A m e r ic a (1 9 4 4 -4 5 ), e d . A lb e r t N e lso n , XXH I, 1080, c o r r o b o r a te s th e n e w sp a p e r a r t ic le , m e n tio n in g th at he w a s a R h o d es s c h o la r fr o m 1 9 2 0 -2 3 . He r e c e iv e d a B .A . | in J u r is p r u d e n c e in 1923, r e tu r n e d to O le M is s and r e c e iv e d an L L .B . in 1 9 2 4 . He p r a c tic e d la w in J a c k so n , M is s is s ip p i. W h o's W ho in A m e r ic a (1 9 4 6 -4 7 ), XXIV, 1207, r e c o r d s h is d ea th on M a rch 2 2 , 1945. 3^The r e f e r e n c e to " s a ilo r c o lla r s " is n o t c le a r . P h il Stone, 122 t h e m s e lv e s , a s w e ll as th e r e f e r e n c e to "the r e m o te v illa g e of O xford" and th e co n clu d in g q u otation fr o m B yron , in d ic a te th at th e stu d en t th ought F a u lk n er w a s a co u n try b o y pu ttin g on a ir s and c o u ld be lik e n e d to a b ra y in g a s s tr y in g to be a p o et. F a u lk n e r 's r e p ly to "T he E d itor" fo llo w s : D ear S ir :- A n an on ym ou s sq u ib in the la s t is s u e of you r p a p er w a s b rou gh t to m y n o tic e a s h avin g a p e r s o n a l b e a r in g . I cou ld , w ith you r f o r b e a r a n c e , f i l l so m [ s ic ] sp a c e in e n d e a v o r in g to b ite th e author w ith h is ow n dog; but I sh a ll co n ten t m y s e lf by a sk in g h im , th rou gh the co lu m n s of y o u r p a p er, w h e r e did he le a r n E n g lish c o n str u c tio n ? Y ou rs tr u ly , W. F a lk n e r . The le t t e r in d ic a te s th at h e w a s proud , s e n s it iv e , and w ith d raw n . The ton e o f a lo o fn e s s and the c ir c u m v e n tin g q u e stio n (J ig g itts' " E n g lish c o n str u c tio n ," if in d eed he w a s th e w r ite r of "The 'M u sh ro o m ' P o e t," i s not th at bad) r e v e a l th at F a u lk n er p r e fe r r e d to b ack out of an a r g u m e n t, if h e co u ld do s o g r a c e fu lly . He had ju st p u b lish e d th re e p o e m s in M arch and fou r m o r e w e r e to ap p ear b e fo r e the end o f th e s e m e s t e r . T he co n ten t of the p oem "Study" (A p ril 21, 1920), w h ich I h ave a lr e a d y tr e a te d , in d ic a te s th at F a u lk n er h ad so m e d iffic u lty c o n c e n tr a tin g on h is c o u r s e s . If P r o f e s s o r G r e e n 's in fo rm a tio n is c o r r e c t , a s I h a v e a s su m e d it to b e, th en F a u lk n er d rop p ed E n g lish du rin g th e sa m e s e m e s te r a fte r h avin g m ad e a fa ilin g g ra d e. W hen th e stu d en t c r it ic is m a p - . p e a r e d , h e w a s lik e ly b eh in d in h is w o rk . But th e b r e v ity of h is c la im th a t h e co u ld " fill som [s i c ] sp a c e in en d ea v o rin g to b ite the au th or w ith In terv iew N o. 1, s a y s th at h e d o e s not r e m e m b e r F a u lk n e r 's w e a r in g 6uch c o lla r s . 37 M is s is s ip p ia n , A p r il 7, 1920, p. 1. 123 h i s own d og" is a lm o s t to o h e s ita n t ly sn o b b ish to b e b e lie v e d . T hat th e p o e t r e a lly d id " content" h im s e lf w ith a s in g le - q u e s t io n r e p ly to "J." is d ou b tfu l. F a u lk n er m o s t lik e ly r e f u s e d to e x ch a n g e b a r b s w ith h is a n ta g o n is t b e c a u s e he w a s to o s e n s it iv e to g iv e fu r th e r c u r r e n c y to h is f e llo w s tu d e n ts' c r it ic i s m s . If h e p a u se d to th in k ab ou t and a n a ly z e h is o w n e c c e n t r ic it ie s , h e , to o , m ig h t s e e th e a b su r d ity o f th em ; and h e w a s h a v in g to o m u c h fun p la y in g h is n ew r o le and sh o c k in g p e o p le . U n d e r n e a th th is s u r fa c e in s in c e r it y , h o w e v e r , h e r e m a in e d s e n s it iv e and a lo o f. S ton e n o tes th a t h e w a s o v e r s e n s it iv e about b oth h is s iz e and a r e c e d in g u p p e r lip . T h e r e w a s lit t le he c o u ld do ab ou t th e fo r m e r , but h e c o m p e n sa te d fo r th e la tte r by g r o w in g a m u s ta c h e . T he m e ta m o r p h o s is w a s s lo w to c o m e . " B ill c u ltiv a te d th a t m u sta c h e fo r y e a r s . It ■ 2 Q w a s a th in lit t le old th in g fo r a lo n g tim e , b u t he fin a lly m a d e it." B ut F a u lk n er w a s not c o m p le te ly w ith d ra w n and r e b e llio u s . 39 M uch of th e tim e he d r e s s e d n e a tly , w e a r in g o p e n - c o lla r s h ir t s . He to o k an i n t e r e s t in s c h o o l a c t iv it ie s and a tte m p te d at l e a s t one d r a m a , " M a r io n e tte s," w h ich h e h a n d -le tt e r e d and illu s t r a t e d h im s e lf " a fter th e m a n n er of B e a r d s le y " fo r a few friends.^ ® D u rin g th e y e a r s he had 38 In te r v iew N o . 2. M o st o f F a u lk n e r 's p ic t u r e s in d ic a te th a t he j s u c c e e d e d in d is g u isin g th e tr a it of a r e c e d in g lip . O ne of th e p h o to g ra p h s w h ic h r e v e a ls i t qu ite c le a r ly , a p r o f ile , ca n be found in M a r s h a ll J. S m ith , " F a u lk n er of M is s is s ip p i," B o o k m a n , 7 4 :4 1 4 , D e c e m b e r 1 9 3 1 . ^ O ' C onnor, T h e T a n g led F ir e of W illia m F a u lk n e r , p . 18. ^ C o l l i n s , N ew O rlea n s S k e t c h e s , p . 13. M a h a la S a v ille , th en R e fe r e n c e L ib r a r ia n a t the U n iv e r s it y of M is s is s ip p i, in a le t t e r to L o is M cC lu re , n o w H ead L ib r a r ia n a t F u lle r to n J u n io r C o lle g e , June 13, 1 9 6 2 , n o te s th at F a u lk n e r had w r itte n on a le t t e r fr o m R aym on d G r e e n ?'sa y in g th a t he did w r it e a p la y b y th a t n a m e M a r io n e tte s , and th a t h e m a d e and bou nd s ix c o p ie s , but h e did n o t s ig n it. H e s a id th e r e m a y be grow n up in O xford , he had b e e n know n not on ly a s a ch ild w h o lik ed to k eep to h im s e lf,4 ' * ' but a ls o a s a boy w h o w a s " o b s e s s e d w ith th e d e s ir e to w r ite ." "M ack" R eed r e c a lls , " b its of h is e ffo r ts ; f a ir y t a le s , r h y m e s , d ra w in g s and lit t le s t o r ie s . . . ." 43 P r o f e s s o r A rth u r W ig fa ll G reen r e m e m b e r s th at he " in c e s s a n tly w r o te j e s t s , p o etry , and sh o r t s t o r i e s . 1,43 He d id a n u m b er of ink s k e tc h e s fo r th e c o lle g e y ea rb o o k , 4 4 o b v io u sly in flu e n c e d b y jo h n H eld J r .'s s ty le of " fla p p ers and sh eik s." J e r e R. H oar in c lu d e s one of th e s e illu s t r a t io n s in h is a r t ic le on so m e of F a u lk n e r 's l e s s known w o r k . L a b e le d " S o cia l A c t iv it ie s ," it sh o w s a b la c k -a n d -w h ite c h e c k e r e d p a v illio n , a d an cin g co u p le d r e s s e d in b e ll lik e fla r in g g a r m e n ts, th e g ir l's lo n g lis s o m le g s in b la ck s to c k in g s , th e b o y 's le g s e n c a s e d in tig h t clo w n 's t r o u s e r s w ith a d ia m o n d -sh a p e d p a t te r n . T he g ir l w e a r s a c o n ic a l p a rty h a t m ir a c u lo u s ly a d h er in g to h e r h ea d alth ough h e r h ead is th ro w n fa r b a ck , h e r w a is t a r ch ed im p o s s ib ly . The b o y bend s fo r w a rd to th is fe m in in e c r e a tu r e w ith b ob bed h a ir , h is I tig h t b la c k s c a lp of p a ste d h a ir a p a r o d y of so p h is tic a tio n . A N eg ro in s tr ip e d su it k n e e ls w ith b la c k head b o w ed o u t -o f-s ig h t , h is le f t hand up-; lifte d a s if r e s is t in g the T e r p s ic h o r e a n s c e n e , h is banjo h a n g in g fro m h is sh o u ld er . In th e b a ck grou n d of th is b a l m a s q u e , above a r is in g a m a n u sc r ip t, b u t he d o e s n 't know of an y." 44 John C u llen , "As I knew W illia m F a u lk n er ," The O xford E a g le (O xford, M is s is s ip p i) , Ju ly 12, 1962, S e c . 2, p. 1. 4 3 In "M r. M ack r e m e m b e r s 'B ill,'" The O xford E a g le , Ju ly 12, ; 1962, p. 1. 4 3 " W illia m F a u lk n er at H om e," p . 299- 4 4 C ough lan, The P r iv a te W orld of W illia m F a u lk n e r , p. 53. 125 clo u d of b a llo o n s, tw o se v e n -p o in te d ca n d ela b ra glow in w h ite a g a in st 45 the b ack grou n d of n igh t or a b la c k c u r ta in . The sk e tc h i s an in t e r e s t in g stu d y in c o n tr a s t and te n sio n . B y th e su m m e r o f 1920, F a u lk n er w a s doin g odd jo b s about the to w n and ea rn in g a ll of h is liv in g e x p e n s e s e x c e p t room and b oard . He w a s s t ill liv in g w ith h is p a r e n ts^ He and h is fr ie n d Stone often to u re d th e c o u n try sid e in th e la t t e r 's c a r , " S u zy ," s o m e tim e s ta k in g ex ten d ed tr ip s to n ea rb y c it ie s su ch a s M e m p h is .^ O 'C onnor n o te s th at "he w a s a w itty and sa r d o n ic young m an w ho w a s h a v in g d iffic u lty in fin d in g 48 h im s e lf e ith e r as an a r t is t or p r o fe s s io n a lly ." But th rou gh S to n e 's b e n e v o le n t in flu e n c e an e v en t o c c u r r e d d u rin g th at sa m e su m m e r w h ich w a s to be the f ir s t fo r tu ito u s lin k in a lo n g c h a in of e v e n ts r e s u ltin g in th e p u b lic a tio n of h is f ir s t n o v e ls . S to n e 's good fr ie n d , th e n o v e lis t Stark Y oung, fo r m e r ly of O xford and th en of N ew Y ork, v is it e d h is f a th e r in O xford fo r a sh o r t tim e e v e r y su m m e r . Young h ad know n o f the; F a lk n e r s , but it w a s th rou gh Stone, w ho b rou gh t F a u lk n er to the Y oungs' h o m e, th at h e ca m e to know the p o et p e r s o n a lly . Young r e c o u n te d th e in c id en t in an a r tic le fo r th e N ew R e p u b lic : . . . I u s e d to s e e B ill F a u lk n er and r ea d th e m a n u sc r ip ts th at h is fr ie n d [S ton e] h ad p r a is e d and p u sh ed so . F in a lly in th e su m m e r of 1920, a fter the W orld W ar, I found h im at O xford in a r e b e llio u s 45 " W illiam F a u lk n er of O xford, M is s is s ip p i," W r ite r 's D ig e s t, 'July 1961, p . 16. ^ B i l l H udson, " F a u lk n er b e fo r e 'S a n ctu a ry ,'" p . 13. ^ S t o n e , In terv iew N o. 1. C oughlan, The P r iv a te W orld . . ., p. 54, s ta te s m u ch th e sa m e in fo r m a tio n but lim it s th e ch ro n o lo g y and re-; jfers to S to n e's ca r as " D ru cilla ." W illia m F a u lk n er , p. 6 . 126 m o o d . D e sp ite th e k in d n e ss of h is p a r e n ts , and so on, he w a n ted a n o th er s o r t of life ; and I s u g g e s te d th at he c o m e to N ew Y ork and s le e p on m y s o fa t il l M is s P r a ll, a fr ie n d of m in e , m a n a g er of the b ook sh op in L o rd and T a y lo r 's c o r n e r , cou ld fin d h im a p la c e th e r e and h e cou ld fin d a r o o m .^9 It w a s th rou gh M iss P r a ll, w h o la te r b e c a m e M r s . S h erw ood A n d erso n , th at F a u lk n er w a s to m e e t th e a r tis t w h o u s e d h is in flu e n c e to g e t h im p u b lish e d . F a u lk n er w ith d rew c o m p le te ly fr o m th e U n iv e r sity in N o v e m b e r, 1920, and m ad e th e tr ip to N ew Y ork. Stone, fe e lin g th at h is fr ie n d w a s not m a k in g m u ch h ea d w a y in O xford, en c o u r a g ed the m o v e in the hope th at N ew Y ork w o u ld p r o v id e h im an op p ortu n ity both to stu d y the g ra p h ic a r ts and to a v a il h im s e lf of S ta rk Y ou n g's in flu e n c e w ith p u b lish ers.^ ® F a u lk n er had m a n a g ed to s a v e $100 fr o m v a r io u s jo b s, p r i m a r ily p a in tin g r o o fs at th e U n iv e r sity , and so h e sp en t $60 of it fo r r a ilr o a d fa r e . The r e m a in in g sum m a n a g ed to tid e h im o v e r fo r a w e ek u n til Y oung r etu r n e d fr o m a tr ip . Y oung did k eep h is p r o m is e of p e r m ittin g F a u lk n er to s le e p on h is so fa and a cq u irin g h im a p o s itio n of c le r k at th e b o o k sto r e , w h e r e he did b e c o m e a cq u a in ted w ith E liz a b e th P r a ll; but nothing ca m e of h is a ttem p ts to g e t h is p o e m s p u b lish e d . F a u lk n er la te r m e n tio n e d th a t he "got fired " b e c a u se he w a s "a lit t le 51 c a r e le s s about m a k in g ch an g e or so m e th in g . T hen I c a m e on h o m e." ^ " N e w Y e a r 's C raw ," N ew R e p u b lic , 93 :2 8 3 , Ja n u a ry 12, 1938. ' ^ I n t e r v ie w N o. 1. C o llin s, N ew O rlea n s S k e tc h e s , pp. 1 1 -1 2 , m e n tio n s P h il S to n e 's r e c o lle c t io n of both p u r p o se s , but did n ot r e la te Y ou n g's in flu e n c e in r e g a r d to g ettin g F a u lk n e r 's p o e m s p u b lish e d . ^ M ar s h a ll J. S m ith , p . 416. T he r e m a r k about h is d is m is s a l m a y or m a y not be tr u e . F a u lk n e r 's " sm a r t-c r a c k " to th e sa m e in t e r v ie w e r in a n sw e r in g a q u e stio n about h is b ir th le a v e s r o o m fo r doubt: " B orn ? . . . Y e s, I w a s b o r n m a le and s in g le at an e a r ly age in M is s is - i 127 A g a in it w a s P h il S ton e w ho c a m e to th e r e s c u e . W hen it b e c a m e c le a r th a t F a u lk n e r w a s n o t s u c c e e d in g in N ew Y o rk , Stone w r o te him s o m e s ix m o n th s a fte r F a u lk n e r h ad f i r s t s e t out fo r N ew Y ork , te llin g h im th a t th e p o s t m a s t e r s h ip of th e U n iv e r s ity w a s now v a c a n t, and he c o u ld h a v e th e p o s itio n if h e w a n ted it. F a u lk n er to o k th e e x a m in a tio n fo r th e p o s itio n on D e c e m b e r 3, 1 9 2 1 . H e w a s to h o ld the jo b u n til h is 53 r e s ig n a t io n on O ctob er 31, 1924. s ip p i. I am s t i l l a liv e but n ot s in g le . I w a s b o r n o f a N e g r o s la v e and an a llig a t o r , b o th n a m ed G lad ys R o ck . I had tw o b r o th e r s , one D r. W a lte r E . T r a p r o c k and th e o th er E a g le R ock, an a ir p la n e ." , ^ C o u g h la n , P t. 2, p . 61. C ou gh lan add s th a t "Judge O ldham , the f a m ily 's f o r m e r n eig h b o r and fa th e r of E s t e lle , h is w if e - t o - b e , w a s a R e p u b lic a n an d d is p e n s e d fe d e r a l p a tr o n a g e ." " ^ C o llin s, N ew O r le a n s S k e tc h e s , p. 10. CHAPTER V TH E "T IE L E SS C A SU A L": A M E D L E Y E v en th ou gh F a u lk n er w a s n o t tak in g c l a s s e s at th e U n iv e r s it y in th e sp r in g s e m e s t e r of 192 1 , h e w a s a m e m b e r of th e Ole M is s y e a r b o o k s ta ff and a c o n tr ib u tin g e d ito r o f th e M is s is s ip p ia n ? H is nam e is lis t e d a s a p r o p e r ty -m a n fo r the p r o d u ctio n "The M a r io n e tte s: A P la y in One A ct" in th e O le M is s y e a r b o o k fo r 1 9 2 0 -2 1 . One of th e s ix o r ig in a l m a n u s c r ip ts of th is p la y c o n ta in s f if t y - f iv e p a g e s and nine p e n - a n d -in k d r a w in g s. T he f i r s t p a g e p r e s e n t s a d e s c r ip t io n of th e sta g e s e ttin g fo r th e f i r s t s c e n e and is a c c o m p a n ie d b y a d ra w in g o f th e p r o ta g o n is t, P ie r r o t , s ittin g a lo n e at a ta b le , on w h ic h sta n d s a b o ttle . C lo th ed in a flo w in g ro b e and p o in te d s h o e s , he r e c lin e s h is h ea d up on th e s m a ll ta b le , p illo w e d by s o m e o b je c t, p erh a p s a th ick c u sh io n . In th e b ack g ro u n d , in fr o n t o f a rou n d w h ite m oon , th e s ilh o u e tte s of tw o p o p la r t r e e s b en d s lig h tly to w a r d th e d ark u p sw e e p of a h ills id e . A n ab an d on ed h ig h - h e e l s lip p e r is d e lic a t e ly fe a tu r e d in th e r ig h t f o r e grou n d (M e r iw e th e r , F ig . 1). A s in th e p oem " N o ctu rn e," a ls o p u b lis h e d in th e 1 9 2 0 -2 1 e d itio n of O le M i s s ,^ the " s 's " a re in v e r te d , th e * M a rth a M a y e s, " F a u lk n er J u v e n ilia ," N ew C am pus W ritin g , N o. 2, ed . N o la n M ille r (N ew Y ork , 1957), p. 135. ^ J a m e s B. M e r iw e th e r , T he L ite r a r y C a r e e r of W illia m F a u lk - \ h e r (P r in c e to n , 1961), p . 8 . ^ (U n iv e r sity , M is s is s ip p i) , X X V , 2 1 4 -2 1 5 . 128 129 h e r o i s n am ed P ie r r o t, and th e d ra w in g c o n s is te n tly d e p ic ts su ch d e t a ils a s flo w in g g a r m e n ts and a r o m a n tic s e ttin g c o m p le te w ith p r o m i n en t w h ite m o o n s. On N o v em b er 10, 1 9 2 0 - - f i v e d ays a fte r h is fo r m a l w ith d r a w a l fr o m th e U n iv e r s ity --F a u lk n e r p u b lish e d h is f ir s t p ie c e of lit e r a r y c r it ic is m in h is co lu m n " B ook s and T h in g s," a r e v ie w of W . A . P e r c y 's v o lu m e of p o e m s In A p r il O n ce.^ He s e t s th e ton e of h is r e v ie w b y the sta te m e n t, "M r. P e r c y - - lik e alas', how m a n y o f u s - - s u f f e r e d the m i s fo rtu n e of h a v in g b e e n b o rn out of h is tim e ," and co n tin u es to r e la te the p o e t's w o rk to su ch w r it e r s a s Sw inburne and B row n in g. The c r it ic is m is a t on ce h is m o s t sh a llo w , c o n d e sc e n d in g , and p r e c io u s . On F e b r u a r y 16, 1921, F a u lk n er p u b lish e d h is s e c o n d p ie c e of lit e r a r y c r it ic is m in the M is s is s ip p ia n u n der th e sa m e co lu m n t it le , a r e v ie w of C onrad A ik e n 's T u rn s and M o v ie s . The a r tic le b e g in s w ith a s a r d o n ic a lly co n fid en t lo o k at c o n te m p o r a r y A m e r ic a n p o etry ; F a u lk n er fin d s no d iffic u lty in s e e in g th rou gh "a fo g g e n e r a te d b y th e m e n ta l p u b erty " of th e s e " v e r s if ie r s ." He co n d em n s th em fo r " w ritin g in fe r io r K ea ts or so b b in g o v e r the m id d le w e s t," and p o in ts to A ik e n a s "one r ift o f h e a v e n [-]s e n t b lu e," A ik en and p erh a p s a h a lf d o z e n o th e r s have "a d e fin ite g o a l in m in d ," but a ll the oth er m o d er n s a r e co n d em n ed fo r ; " B ro w n in g esq u e o b scu rity " and " m e d io c r ity ." He f e e ls th at a r t sh o u ld n ot b e tr e a te d m e c h a n ic a lly a c c o r d in g to fo r m a liz e d " s c ie n tific r u le s ." I ^ M is s is s ip p ia n (U n iv e r sity , M is s is s ip p i) , p. 5. T h is a r tic le is not in clu d ed in J a m e s B. M e r iw e th e r 's lis t in g of F a u lk n e r 's c o n tr ib u tio n s to the M is s is s ip p ia n in W illia m F a u lk n er: A C h eck L is t ( P r in c e ton , 1957), pp. 2 2 -2 3 . A p p a ren tly it h a s ju s t co m e to lig h t. S ee C a r v e l C o llin s, e d ., W illia m F a u lk n er: E a r ly P r o s e and P o e tr y (B o sto n , 1962), : pp. 7 1 -7 3 . 130 A ik e n , u n lik e th e o th e r s , h a s m a d e a r e a l e ffo r t to d is c o v e r tr u e e s t h e t ic la w s: N oth in g is e v e r a c c id e n ta l w ith h im , he h a s m o s t h a p p ily e s c a p e d our n a tio n a l c u r s e of f illin g e a c h and e v e r y s p a c e , r e lig io u s , p h y s ic a l, m e n ta l and m o r a l, and b e s id e h im th e B r itis h n ig h tin g a le s , M r. V a c h e l L in d sa y w ith h is tin p a n and ir o n sp oon , M r. K r ey m b o r g w ith h is lith o g r a p h ic w a te r c o lo r in g , and M r. C a rl Sandburg w ith h is s e n tim e n ta l C h ica g o p ro p a g a n d a a r e so m a n y p u p p ets fu m b lin g in w in d y d a r k n e s s . L a te r , h e c o n d em n s A m y L o w e ll fo r h e r a ttem p ts at p o ly p h o n ic v e r s e , " in s p ite of th e fa c t th a t sh e h a s c r e a te d so m e d e lig h tfu l s ta tu e tte s of p e r f e c t ly b lo w n g la s s . . . ." T he r e v ie w in d ic a te s n o t o n ly c le v e r ly s ta te d s k e p t ic is m s to w a r d m u ch m o d e r n p o e tr y , but a ls o an a w a r e n e s s o f p o e tic te c h n iq u e s: " M r. A ik e n h a s a p la s t ic m in d , h e u s e s v a r ia tio n , in v e r s io n , ch an g e of rh yth m and su ch m e t r ic a l tr ic k s w ith s k illfu l e ff e c t . . . ." F a u lk n e r 's c o n s c io u s n e s s of th e im p o r ta n c e of o r g a n iz a tio n a l s k ill and a r t is t ic u n ity ca n be in fe r r e d fr o m h is h e s ita n c y to quote fr o m A ik e n 's w o rk b e c a u s e "he h a s w r itte n w ith c e r ta in m u s ic a l fo r m s in m in d ," and any d i- ; v is io n of a p o e m " is a s a s in g le ch o rd to a fu g u e. . . ." He e x p r e s s e s an in t e r e s t in A ik e n 's " a b str a c t th r e e [-J d im e n s io n a l v e r s e p a tte r n e d on p o ly p h o n ic m u s ic fo rm " as e x e m p lifie d in "The J ig of F o r s lin " and " T h e H o u se of D u st," fo r "no one h a s m a d e a s u c c e s s f u l a ttem p t to s y n th e s iz e m u s ic a l r e a c tio n s w ith a b s tr a c t d o c u m en ta r y r e a c tio n s ." F a u lk n er r e la t e s A ik e n 's s te a d y d e v e lo p m e n t w ith "a c y c le b a ck to th e G r e e k s," th e " fain t t r a c e s of th e F r e n c h s y m b o lis ts ," and th e " so ft s o n o r ity th a t ■ M a s e fie ld m ig h t h a v e fo r m e d ." He c o n c lu d e s w ith th e hop e th a t "the tid e of a e s t h e t ic s t e r ili t y w h ic h is s lo w ly en g u lfin g us" w ill b e w ith d raw n , le a v in g "our f i r s t g r e a t p o e t," p e r h a p s A ik e n h im s e lf . 131 T he tw o p o e m s w h ich F a u lk n e r p u b lish e d d u rin g th is s a m e 5 sp r in g a r e d is tin c t ly d iffe r e n t p i e c e s . " C o -E d u c a tio n at Ole M is s " is lig h t v e r s e sim p ly c o n c e iv e d and f ille d w ith y o u th fu l e x u b e r a n c e : E r n e s t s a y s , to E r n e s tin e - - T hou a r t m y lit t le q u ee n - - O, T hou a r t th e g ir l Of a ll th e w o r ld W ho m a k e s m y h e a r t b e a t m e a n - - O; F o r n ig h t and day W hen th o u a r t aw ay, T h y fa ir fa c e f i l l s m y b ea n — O, A nd lo v e 's t th o u m e A s I lo v e th e e , L e t 's off to G retn a G r e e n —O. " N o c tu r n e,"^1 on th e o th er han d , i s m o r e c o m p le x and fin e ly w r o u g h t. B oth th e illu s t r a t e d C olu m b in e and P ie r r o t a r e p r e s e n te d , v is u a lly and ly r ic a lly , as w h ite f la m e s , f lic k e r in g in h u m an a ttitu d e s , e a ch p e d e s ta le d a b o v e a ca n d le: C o lo m b in e [ s i c ] le a n s a b o v e th e ta p e r fla m e : C o lu m b in e flin g s a r o s e . She flin g s a s e v e r e d han d at P ie r r o t 's fe e t . L iste n ! A v io lin F r e e z e s in to a b la d e , s o b r ig h t and th in It p ie r c e s th rou gh h is b r a in , in to h is h e a r t, A nd h e is sp itte d b y a p in of m u s ic on th e dark. B la c k th e ta p e r , sh a r p th e ir m o u th s in s ta r lig h t The sk y w ith ic y r o o t le s s flo w e r s g a u n tly g lo w s. T h ey a r e s tiff ly f r o z e n , b r ig h t and sta r k . T he s ig n ific a n c e of F a u lk n e r 's p u b lic a tio n s d u rin g t h e s e m on th s l i e s n o t s o m u ch in th e ir q u a lity a s in th e ir v a r ie t y . He w r o te tw o c r it ic a l r e v ie w s , tw o p o e m s , and a o n e - a c t d ram a; in a d d itio n to th e s e , ^ M is s is s ip p ia n , M ay 4, 1921, p. 5. ^ M e r iw e th e r , The L it e r a r y C a r e e r of W illia m F a u lk n e r , p. 9, n o te s th a t "The te x t on p. 215 w a s o b v io u sly r e v e r s e d w ith th a t on p. 2 1 4 ." 132 h e m ad e s e v e r a l p e n -a n d -in k s k e tc h e s . T he d ram a a p p e a r s to be fa n c ifu l and b iz a r r e . F a u lk n e r 's tr e a tm e n t of P e r c y 's p o e tr y is sh a llo w an d p r e c io u s; but the r e v ie w of A ik e n 's T u rn s and M o v ie s , d e sp ite its o b v io u s a tte m p ts at c r it ic a l in g e n u ity , in d ic a te s a s u r p r is in g fa m ilia r ity w ith m u ch m o d e r n p o e tr y , its te c h n iq u e s, and r e la tio n s h ip s to su ch l i t e r a r y tr a d itio n s as c l a s s i c i s m , F r e n c h S y m b o lism , and V ic to r ia n t r a d itio n a lis m . " C o -E d u ca tio n at O le M iss " i s m e r e ly r ic a l p lay. But " N octu rn e" i s m o r e d e e p ly e m o tio n a l and in t e n s iv e ly c o n d e n se d . T he sta r k w h ite and b la c k c o n tr a s t o f the sk e tc h is c o n s is te n t w ith the m o r e m a r k e d ly id io s y n c r a tic in v e r s io n of " s 's " and " z 's ." O th er c o n tr a s ts a re a ls o sig n ific a n t: the h e a t of the fla m e s and th e c h ill of the dark; the su d d en p a lp a b ility of m u s ic as a p in , the d a rk a s a su b sta n c e on w h ich a p in ca n be " sp itted " ; an d the r o s e a s p a p er , the p a p er r o s e th e n as a w h ite m oth . T he d a n cin g of th e fla m e - f ig u r e s in e r r a t ic w h ir ls and at fa n ta s tic s p e e d s s ta r k ly o p p o se s th e ir u ltim a te h e lp le s s n e s s a s fla m e s a g a in st a b a ck d rop o f sk y fr o m w h ich th e s ta r s do not bu rn w ith w a rm th , but r a th e r glow a s so m an y " ic y r o o t le s s flo w e r s ." In th is sk y th e m o v in g b r illia n t s t a r s are a r r e s t e d and, a s it w e r e , h eld in c a ta le p s y , " stiffly fr o z e n , b r ig h t and sta r k ." We h a v e the o x y m o ro n s of sh im m e r in g m o t io n le s s n e s s and burn ing c o ld n e s s . F in a l ly , a s P ie r r o t w h ir ls h e t r ie s to h id e h is h e a d , but "the k een b lu e d a rk n e s s / C uts h is a r m s a w a y fr o m h is fa c e ." J u st a s the d e v ic e of c o n tr a s t ca n be u se d to a r o u s e e m o tio n a l im p r e s s io n s of deep s ig n ific a n c e in the r e a d e r , it ca n a ls o r e v e a l p r o fou n d e m o tio n s in the w r ite r w ho u s e s it. It s e e m s to m e th at su ch a p r o fu sio n of o p p o sitio n a l im a g e s a s F a u lk n er p r e s e n ts u s in "N octurne," 133 a lo n g w ith th e b r u ta lity of h is r e s o lu tio n , s u g g e s ts a p o w e r fu l in n er te n s io n on th e p a r t of th e p o e t - s k e t c h e r . To c o n tr a s t " C o-E d u cation " w ith " N octu rn e" is , p e r h a p s, to s e e in you n g F a u lk n er an e x te r n a liz a - tio n of a fa m ilia r su b c o n s c io u s c o n flict: on the one hand, h e p ro b a b ly w is h e d to liv e a n o r m a l, p e r h a p s c o n v iv ia l c o lle g e life ; on th e other hand, he s t i l l f e lt is o la te d fr o m th o se co m p a n io n s th at su rro u n d ed h im , in itia te d as h e w a s and a s th e y w e r e n ot to the c o n c ep t of lo y a lty to a p a s t h e r ita g e . T h u s, at the m o m en t of f u lle s t opp ortun ity to su rrou n d h im s e lf w ith g en u in e lif e and th e g a ie ty of c o lle g e s o c ie ty , h e c o n s c io u s ly sh a p ed h is in tu itio n a l lo n g in g s in a kin d of p a n to m im e: lo v e e m e r g e d a s fa n ta sy , a s p u p p ets, a s H a rleq u in and h is sw e e th e a r t; and th en the fa in t r e a lity of th e s e r e p r e s e n ta tio n a l lo v e r s w a s fu rth er d im in ish e d to the fla m e s of c a n d le s tic k s , sp u tter in g and flic k e r in g a g a in st the in e x o r a b le fr e e z e of n igh t. " N octu rn e" g iv e s u s the p r o file of a str a in e d d i ch o to m y . T he c a ta le p tic p a s t s t ill d o m in a te s th e liv in g p r e s e n t, and th e c o n flic t, th ough not c o n s c io u s ly e x p r e s s e d , fin d s e x p r e s s io n in th is str a n g e p o e m of ju x ta p o sed o p p o sitio n s. The te n s io n e v id e n t in " N o c tu rn e" is lit t le l e s s th an th at of the M a rb le F a u n --th o u g h c e r ta in ly n ot a s s u s t a in e d - - in w h ich th e c r e a tu r e th a t y e a r n s to gam b ol w ith n ym p h s of th e glad e w h en th e w o r ld w a s young, p a r a d o x ic a lly is m a r b le -b o u n d in th e p a st. T h u s, F a u lk n er in th e sp r in g of 1921 w a s s t ill en g a g ed in th e u n r e s o lv e d s tr u g g le to id e n tify w ith a p a st th at w a s a s y e t ir r e trievab le.® ^C f. th e a n a ly s e s of th e M a rb le F a u n , Ch. Ill, and "C athay," Ch. IV. 8 T hat a c r e a tiv e a r t is t ca n e x p r e s s p r o b le m s of " c o n flictin g 134 F a u lk n e r 's r e c o r d of p u b lic a tio n sh o w s only on e p u b lic a tio n fo r th e f a ll s e m e s t e r of 1920 and n o th in g fo r th e f a ll s e m e s t e r o f 19 2 1 . W illia m Van O 'C on n or, r e c o u n tin g a s h is p r im a r y e v id e n c e S ta rk Y o u n g 's in v ita tio n to F a u lk n e r in th e su m m e r of 1920, s t a t e s th at F a u lk n e r w ith d rew fr o m th e u n iv e r s it y in N o v e m b e r , 1920, and "T hat s a m e q y e a r . . . w e n t up to N ew Y ork C ity" ( it a lic s add ed). T hat s o m e c o n fu s io n e x is t s a s to th e y e a r of F a u lk n e r 's f i r s t N ew Y ork tr ip , w h ich la s t e d s ix m o n th s , is e v id e n t in R o b e r t C o u g h la n 's d a tin g of th e so jo u r n a s 1 9 2 3 ,^ but F a u lk n er w a s at th a t tim e , a c c o r d in g to a ll a v a ila b le e v i d e n c e , o c c u p ie d w ith h is d u tie s a s p o s tm a s te r at the u n iv e r s ity . E x c e p t fo r th e ir c o n flic tin g d a te s , O 'C onn or and C ou gh lan a r e in a g r e e m e n t a b o u t the im p o r ta n t d e ta ils of th e trip : h e s ta y e d w ith S ta rk Young; h e w o r k e d in th e b ook d e p a r tm e n t of L o rd and T a y lo r 's; h e m e t E liz a b e th P r a ll; and, th ro u g h M is s P r a ll, w h o b e c a m e S h erw ood A n d e r so n 's w ife , h e e v e n tu a lly b e c a m e a c q u a in ted w ith th e w r it e r w ho w a s to h e lp h im p u b lis h h is f i r s t n o v e l. P h il S ton e h a s g iv e n u s th e b e s t c lu e c o n c e r n in g th e date of th e trip?'*' C ou g h la n q u o tes S to n e 's in fo r m a tio n in th is w ay: id e n tific a tio n " in h is p r o d u c tio n , c f. D a n iel E . S c h n e id e r 's p s y c h o a n a ly t i c a p p ro a ch to th e p a in tin g of M a rc C h a g a ll in The P s y c h o a n a ly s t and th e A r tis t (N ew Y ork, 1954), p. 2 0 4 . 9 T he T a n g led F ir e of W illia m F a u lk n er (M in n ea p o lis, 1954), p. 19- Stark Y ou n g w r it e s o f th e in c id e n t in "N ew Y e a r 's C ra w ," N ew R e - ; p u b lic , 9 3 :2 8 3 , J a n u a ry 12, 1938. ^ T he P r iv a te W o rld of W illia m F a u lk n e r (N ew Y ork , 1954), p. 5 6 . ^ I n In te r v ie w N o. 1, S ton e to ld m e th a t F a u lk n er w en t to N ew Y o r k b e fo r e h is te n u r e a s p o s t m a s t e r of th e U n iv e r s ity b eg a n , and th a t th e tr ip la s t e d "about s ix m o n th s." 135 F a u lk n er m a d e no h ea d w a y in th e p u b lish in g w o r ld in N ew Y ork . S ix m o n th s la t e r , h e a r in g fr o m Ston e th a t th e u n iv e r s ity p o s tm a s te r s h ip w a s op en and th a t h e co u ld h a v e it . . . h e c a m e b a ck h o rn ed ( it a lic s added) C a r v e l C o llin s n o te s th a t F a u lk n e r to o k th e e x a m in a tio n fo r th e p o s itio n 13 on D e c e m b e r 3, 1921. F r o m th is in fo r m a tio n one m ig h t te n t a tiv e ly c o n c lu d e , b y co u n tin g th e s ix m o n th s b a ck w a rd fr o m D e c e m b e r 3, 1921, th a t F a u lk n er w en t to N ew Y ork in la te M ay or e a r ly June of 192 1 . S e v e r a l o th e r s h a v e o b s e r v e d th a t F a u lk n er had b eg u n h is d u ties 14 a s p o s tm a s te r by 1 9 2 2 . He h e ld th is p o s itio n u n til O ctob er 31, 1924. T he o n ly lo g ic a l w a y th a t C ou g h la n1 s d atin g of th e N ew Y ork tr ip in 1923 c o u ld be ju s tifie d , it s e e m s , w o u ld be th ro u g h F a u lk n e r 's ta k in g a le a v e o f a b s e n c e fo r at l e a s t s ix m o n th s, and th e r e is n o e v id e n c e th a t he did s o . . O th er p o in ts w h ic h m a y te n d to n eg a te b oth Coughlan* s 1923 and O 'C o n n o r's 1920 d a tin g s of F a u lk n e r 's N ew Y o rk t r ip - -a n d to su p p o rt a 1921 d a t in g -- c a n be g le a n e d fr o m in te r n a l e v id e n c e of the s i x p ie c e s of c r it ic is m p u b lish e d in th e M is s is s ip p ia n (la te r n o ted in th e te x t of th is c h a p ter ). Of c o u r s e , F a u lk n er n e e d not h a v e b e e n in N ew Y o rk to h ave 12" T h e P r iv a te W orld of W illia m F a u lk n e r ," L ife , O c to b e r 5, 1953, P t. 2, p. 61. C o u g h la n 's s ta te m e n t is m u ch th e sa m e a s th e in fo r m a tio n w h ic h Stone g a v e m e in I n te r v ie w N o. 1. ^"A bout th e S k e tc h e s," W illia m F a u lk n er: N ew O r le a n s S k etch - e s (N ew B r u n sw ic k , 1 9 5 8 ), p. 10. C o llin s h a s m o r e r e c e n tly n o te d in T^Faulkner a t th e U n iv e r s it y of M is s is s ip p i," W illia m F a u lk n er : E a r ly P r o s e and P o e t r y (1 9 6 2 ), p. 2 0 , th a t th e M is s is s ip p ia n c o lu m n " L o c a ls," r e p o r te d on D e c e m b e r 9, 1921, th a t " W illia m F a u lk n e r , fo r m e r O le M is s stu d en t, w ho h a s b e e n in N ew Y ork C ity fo r so m e tim e stu d y in g a r t, h a s r e tu r n e d to th e U n iv e r s ity to ta k e th e te m p o r a r y p o s t m a s t e r sh ip at th e U n iv e r s ity p o s t o ffic e " ( it a lic s ad d ed ). ^ A m o n g th em a r e M a rth a M a y e s , " F a u lk n er J u v e n ilia ," p. 135; O 'C on n or, T he T a n g led F ir e . . ., p . 20. know n w hat w a s going on th ere; but, for w h a te v e r s ig n ific a n c e m a y lie in th e fa c ts , th r e e of th e p ie c e s m e n tio n N ew Y ork o r ite m s r e la t e d to N ew Y ork in a c o n te m p o ra r y s e n s e . A ll o f th e s e w e r e p u b lish e d in 1922. On th e o th er han d, F a u lk n e r 's r e v ie w of W. A . P e r c y 's In A p r il O n ce, the f i r s t of th e s e c r it ic a l e s s a y s , p u b lish e d N o v em b er 10, 1920, d o e s not m e n tio n N ew Y ork in a n y w ay; n e ith e r d o es h is r e v ie w of A ik e n 's T u rn s and M o v ie s , p u b lish e d F e b r u a r y 16, 1921, nor h is r e v ie w of M illa y 's A r ia da C a p o , p u b lish e d a lm o s t a y e a r la te r on J a n u a ry 13, 1922. H o w e v er , th e fo u rth a r t ic le on E u g en e O 'N e ill, p u b lish e d F e b r u a ry 3, 1922, ta k e s n o tic e of O 'N e ill's The E m p e r o r J o n e s , T he S tra w , and A nna C h r is tie as " p layin g in N ew Y o rk th is w in ter " (p. 5). The fifth a r t ic le , " A m e r ica n D ra m a In h ib itio n s," p u b lish e d M a rch 17, 2 4 , 1922, m a k e s tw o a llu s io n s to N ew Y ork: one is an a n ecd o te c o n c e r n in g a d ra m a c r it ic on a N ew Y ork m a g a z in e w ho "r e la te d it to m e ..." (M arch 17, p . 5, it a lic s added); th e se c o n d r e f e r e n c e i s in d ir e c t, an ap p a r e n t fir s th a n d c o m m en t about th e unique lit e r a r y a b ilitie s of "the N orthm an" in th e U n ited S ta tes (M arch 2 4 , p. 5). F in a lly , in th e six th c r it ic a l e s s a y , a r e v ie w of H e r g e s h e im e r 's w o rk p u b lish e d D e c e m b e r 15, 1922, F a u lk n er r e la t e s C y th e r e a and T he B rig h t Shaw l to th e in flu e n c e s of S in c la ir L e w is and th e N ew Y ork T im e s (p. 5). The m o s t fo r m id a b le o b s ta c le to O 'C o n n o r's dating th e N ew Y ork tr ip in 1920 is S to n e's co n ten tio n th at F a u lk n er c a m e h om e to ta k e the p o s itio n of U n iv e r sity p o s tm a s te r s ix m o n th s a fter h e had s e t out for N ew Y ork, w h ich w ou ld m ea n th a t F a u lk n e r - - if he le f t fo r N ew Y ork im m e d ia te ly a fte r w ith d ra w in g fr o m O le M is s in N o v em b er, 1 9 2 0 - -w a s b a ck in O xford by June of 1921 a t the la t e s t . B ut w e h ave a ls o s e e n that; 137 F a u lk n e r 's f ir s t c r it ic is m w a s p u b lish e d in th e M is s is s ip p ia n on N o v e m b e r 10, 1920. He w a s a ls o in v o lv e d in c o lle g e a c tiv itie s in d r a m a t ic s and a r t th rou gh ou t the s p r in g of 1921 , and w a s p u b lish in g in sc h o o l p e r io d ic a ls a s e a r ly in th e s e m e s t e r as F e b r u a r y 16 and a s la te a s M ay 4. T h u s, O 'C o n n o r's date c o n flic ts in a n u m b er of w a y s w ith w hat w e know about the tr ip : its d u ra tio n of s ix m on th s and its tim in g in r e la tio n to th e a v a ila b ility of th e p o s tm a s te r s h ip in la te 1921. O 'C onn or, in a r r iv in g a t h is d a te, a p p a ren tly r e lie d upon an a ssu m p tio n w h ic h is a ll too e a s y to m ak e fr o m S ta rk Y o u n g 's sta te m e n t: F in a lly in th e su m m e r of 1 9 2 0 , a fte r th e W o rld W ar, I found F a u lk n er at O xford. . . . and I s u g g e s te d th a t he co m e to N ew Y ork and s le e p on m y s of a . . . t i l l . . . h e co u ld fin d a r o o m . He did b o th . (it a lic s added) But it s e e m s p e r tin e n t to n ote f ir s t th at Stark Y oung c o m p o se d the sta te m e n t in 1938, lo n g a fter th e e v e n t to w h ich h e alluded; and seco n d , th at he did not m e n tio n th e date of F a u lk n e r 's tr ip . If F a u lk n er did w ith d ra w fr o m th e u n iv e r s ity in N o v em b er of 1920, as h is c o lle g e r e c ord s t a t e s , and if h e w a s on ca m p u s to ten d to th e p r o c ed u r e h im s e lf, th en it i s , of c o u r s e , im p o s s ib le th a t h e co u ld h a v e b een in N ew Y ork b e fo r e N o v e m b e r, 1920. T hen if F a u lk n er w a s n o t in N ew Y ork in th e fa ll of 19 2 0 , w h at w a s he d oin g in O xford? H e m a y h a v e begun s o m e c la s s e s in th e fa ll s e m e s t e r b e fo r e w ith d ra w a l, but th e e v id e n c e is sk e tc h y c o n c e r n in g th is point?-^ A n o th er m o r e p e r tin e n t fa c t, it s e e m s , is th at of F a u lk n e r 's ^ I n "N ew Y e a r 's C raw ," N ew R e p u b lic , 9 3 :2 8 3 , J a n u a ry 12, 1938. * ^C oughlan in The P r iv a te W orld of W illia m F a u lk n e r , pp. 5 2 - 53, n o te s th at th e w ife of P r o f e s s o r C alvin B row n , h ea d of th e D e p a r t m en t o f R o m a n ce L a n g u a g es at th e U n iv e r s ity o f M is s is s ip p i w h ile 138 w o rk in g and s a v in g a t le a s t $100 b e fo r e s e ttin g out fo r N ew Y ork , $60 17 of w h ic h h e u s e d fo r r a ilr o a d f a r e . It is th e r e fo r e p o s s ib le th a t he w ith d r ew fr o m c o lle g e in N o v e m b e r of 1920 n o t to le a v e fo r N ew Y ork im m e d ia te ly , but r a th e r to w o r k at odd jo b s , su ch as p a in tin g th e r o o fs of u n iv e r s it y b u ild in g s; and it w a s n o t u n til la te sp r in g of 1921 th at he had s a v e d th e th e n -s u b s ta n t ia l su m of $ 1 0 0 to m ak e th e tr ip . He w a s v e r y lik e ly r e a d in g a g r e a t d e a l d u rin g th e f a ll, a fa c t in d ic a te d b y the c o m m e n c e m e n t o f h is c r it ic a l s e r i e s on N o v e m b e r 10, a s w e ll a s m a n y lit e r a r y r e f e r e n c e s in h is r e v ie w o f A ik e n 's T u rn s and M o v ie s , a lr e a d y c o m m e n te d on in th is c h a p ter . T he fa c t th a t he w a s n o t ta k in g c o u r s e w o rk s u g g e s t s th e str o n g p o s s ib ilit y th at h e w a s w o rk in g d u rin g th e day and tr y in g to s a v e h is m o n e y w ith th e h op e of r e a liz in g h is a m b itio n s in N ew Y ork th ro u g h th e in flu e n c e of S ta rk Y oung. Such fa c ts and p o s s i b ilit ie s g iv e a p r a c t ic a l e x p la n a tio n fo r th e a b s e n c e of any p u b lic a tio n s b y F a u lk n er in th e f a ll s e m e s t e r of 1920. F a u lk n er w a s a s p e c ia l stu d en t th e r e , r e m e m b e r s th at " B illy e n r o lle d in a m a th c o u r s e . He s e e m e d q u ite in t e r e s t e d th e f i r s t few w e e k s , but ■ . . . f in a lly ju s t d r ifte d aw ay. H e s e e m e d to be the s a m e w a y in m o s t o f’ th e s u b je c ts h e to o k ." T he s ta te m e n t in d ic a te s th a t F a u lk n er c o u ld p o s s ib ly h a v e b e e n e n r o lle d in c o u r s e w o r k b e fo r e h is w ith d r a w a l N o v e m b e r 5, 1920; but h is c o lle g e r e c o r d d o e s n ot in d ic a te an y su c h e n r o ll m e n ts in or w ith d r a w a ls fr o m s p e c if ic c l a s s e s . C o llin s , " F a u lk n er at the U n iv e r s it y o f M is s is s ip p i," p . 19, s t a t e s , " B e fo r e tw o m o n th s of th e autum n s e m e s t e r o f h is s e c o n d y e a r had p a s s e d , F a u lk n er w ith d r ew fr o m e n r o llm e n t . . . and n e v e r a g a in r e g is t e r e d a s a stu d en t. B ut th is by no m e a n s s e v e r e d h is c o n n e c tio n w ith th e U n iv e r s ity 's p u b lic a tio n s." 17 M a r s h a ll J. S m ith , " F a u lk n er of M is s is s ip p i," B o o k m a n , 74: 416, D e c e m b e r 1 9 3 1 . F a u lk n e r 's ow n a c c o u n t, a s r e p o r te d b y Sm ith, d o es lit t le to c la r if y the co n fu sio n : " 'M et S ta rk Y oung on the s t r e e t one day,' F a u lk n er s a id . '. . . Y oung s a id I sh o u ld go to N ew Y ork . H e saidi tiiat w a s the p la c e to b e. W e ll, th a t w a s an id e a . 1 h ad one h u n d red dol-; ia r s . I h ad b e e n p a in tin g , y o u kn ow . So w ith s ix ty d o lla r s of m y sta k e sp en t fo r r a ilr o a d fa r e I w en t to s e e S ta rk Y o u n g --h e h ad s a id to be su r e and c o m e to s e e h im .'" F a u lk n er d id n o t m e n tio n th e d ate of h is N ew Y ork tr ip . 139 R e v iew in g th e v a r io u s c o n flic ts and w e ig h in g a ll th e e v id e n c e a v a ila b le to m e , I b e lie v e it is m o s t lik e ly th a t F a u lk n er s e t out fo r N ew Y ork in the la te sp r in g or e a r ly su m m e r of 1 9 2 1 , s ta y e d th e r e s ix m o n th s, and r e tu r n e d at th e u r g e n c e of P h il S ton e to ta k e the e x a m in a tio n fo r p o s tm a s te r s o m e tim e b e fo r e D e c e m b e r 3, 1 9 2 1 . He a s s u m e d h is n ew d u ties s h o r tly t h e r e a f t e r . Such a d a tin g , it s e e m s to m e , b e s t c o in c id e s w ith th e a v a ila b le f a c t s and g iv e s h e a v ie s t w e ig h t, on ce a g a in , to th e in fo r m a tio n of P h il S to n e. Such a d a tin g a lso e x p la in s th e a b s e n c e of lit e r a r y p u b lic a tio n s by F a u lk n e r du rin g th e fa ll s e m e s t e r o f 1 9 2 1 . One w r it e r n o te s th a t F a u lk n er w a s " s u p e r v is o r o f the P o s t O f fic e " in 1922. A c a r to o n a p p e a r e d , fe a tu r in g th e p o s ta l w o r k e r s a n d th e ir m otto: " M a il n e v e r p u t up on tim e. D iv e r sio n : R ea d a ll th e 18 m a il." The s m a ll b r ic k b u ild in g on U n iv e r s it y A ven u e in w h ich F a u lk n e r s e r v e d h is fa m o u s ly d ila to r y te r m a s p o s tm a s te r s t i l l sta n d s, and iq now s e r v e s a s a s p e e c h c lin ic . B efo re 1 9 2 2 he had d r iv e n a F o r d ru n ab ou t, but so o n a fte r b e c o m in g p o s tm a s te r , h e p u r c h a se d a red B u ic k roadster.^ ® H e co n tin u ed h is lit e r a r y p a r tn e r s h ip w ith S ton e, w h o s e s e c r e t a r y ty p ed F a u lk n e r 's m a n u s c r ip ts a n d m a ile d th e m to p u b lis h e r s .: T h e ir w a lk s and d r iv e s ab ou t th e O xford a r e a , and th e lo n g e r t r ip s to M e m p h is, C la r k s d a le , and o th er c itie s c o n tin u e d . In t h e ir c o n v e r s a tio n s , Stone co n tin u e d to e n c o u r a g e F a u lk n er by in flu e n c in g h is f r ie n d 's 18 M a rth a M a y e s, " F a u lk n er J u v e n ilia ," p. 135. 19 I w a s g iv e n th is in fo r m a tio n b y a n e m p lo y e e o f th e U n iv e r s it y ; of M is s is s ip p i P o s t O ffice on J u ly 26, 1 9 6 2 . M y p h o to g ra p h of th e b u ild in g sh o w s it s lo c a tio n in a s lig h t d e c liv it y p erh a p s th ir t y -fiv e y a r d s fro m th e s t r e e t . ^ O ' C on n o r, T he T a n g le d F ir e . . ., p . 20. 140 r ea d in g and c r it ic iz in g and e d itin g h is m a n u s c r ip ts . Stone s a y s that F a u lk n er w ro te th e p o e m s of A G r ee n B ough w h ile he w a s p o s tm a s te r a t O le M is s (In terv iew No. 1). B efo re lo o k in g m o r e c lo s e ly at th e s e p o e m s , h o w e v e r , I b e lie v e it w ou ld be b e s t to e x a m in e F a u lk n e r 's p u b li c a tio n s d u rin g 1922 : fo u r p ie c e s of lit e r a r y c r it ic is m , a p r o s e sk etch , and a p o e m . The c r it ic is m sh o w s th at F a u lk n er w a s con tin u in g h is e x a m in a tio n of a w h ole ra n g e of lit e r a r y f ie ld s s e r io u s ly begun, a p p a ren tly , a s e a r ly a s N o v em b er 10, 1 9 2 0 , w ith h is r e v ie w of P e r c y 's In A p r il O n ce. A c h r o n o lo g ic a l l i s t of a ll s ix p ie c e s of F a u lk n e r 's lit e r a r y c r it ic is m p u b lish e d in the M is s is s ip p ia n u n d er h is c o lu m n h ead in g " B ook s and T h in gs" w ill p r o v e h e lp fu l fo r fu r th e r r e f e r e n c e s : W. A . P e r c y 's In A p r il O nce (r e v .), N o v em b er 10, 1920, p. 5. C on rad A ik e n 's T u rn s and M o v ie s (r e v .), F e b r u a r y 16, 1921, p. 5. E dna St. V in cen t M illa y 's A r ia da Capo (r e v .), J a n u a ry 13, 1922, p . 5. " A m e r ica n D ram a: E u g en e O 'N eill" ( a r tic le ), F e b r u a r y 3, 1922, p. 5J " A m e r ica n D ra m a In h ib itio n s" (a r tic le in 2 p a r ts ), M a rch 17, 1922, p . 5; co n tin u ed M a rch 24, 1922, p. 5. " J o sep h H e r g e s h e im e r 's L inda C ondon, C y th e r e a , The B rig h t Shaw l (r e v .), D e c e m b e r 15, 1922, p . 5. The b eg in n in g of F a u lk n e r 's r e v ie w of M illa y 's A r ia da C apo h a rk s b a ck to h is r e v ie w o f A ik e n 's T urn s and M o v ie s : the fo r m e r a llu d e s to " th is, age of m e n ta l p u b erty ," w h ile the la tt e r c o m m e n c e s , "In th e fo g g e n e r ated by th e m e n ta l p u b erty of c o n te m p o r a r y A m e r ic a n v e r s if ie r s ." Both co n tin u e to d e n ig r a te m u ch of m o d er n p o e tr y . F a u lk n er la te r a d m itte d th at it w a s about th is tim e h e "took s e r io u s ly to r ea d in g v e r se " : W ith no b ack grou n d w h a te v e r I jo in ed th e p a ck y e llin g lo u d ly a fter c o n te m p o r a r y p o e ts . I cou ld not a lw a y s t e ll w hat it w a s a ll about but " T h is is th e stu ff," I to ld m y s e lf, b e lie v in g , lik e so m a n y , th at if one i c r ie d lo u d ly enough to be h e a r d above th e din, and so c o n v in c e d o th e r s th a t one w a s "in the know ," one w ou ld be a u to m a tic a lly a c c o la d e d . 141 21 I jo in e d an e m o tio n a l B . P . O. E . F a u lk n er s tr o n g ly c e n s u r e s th e g e n e r a lly p r e v a le n t e m o tio n a lis m of su ch c o n te m p o r a r y p o e ts a s A m y L o w ell and C arl Sandburg. B ut " M iss M illa y ," u n lik e the o th e r s, " m igh t b e sa id to h ave s c o r e d a 'b ea t'; tr u ly so in . . . th at sh e h as done so m e th in g 'd iffe r e n t. 1 . . ." H er id e a of a p a s to r a l tr a g e d y e n a c te d and co n clu d ed b y in te r lo p e r s a g a in s t a c o n v e n tio n a l b a ck g ro u n d of p a p e r s tr e a m e r s and c o lo r e d c o n fe tti in th e m id st of a th o ro u g h ly a r t if ic ia l P ie r r o t and C olum bine s u ite alon e m a k e s it w o r th se c o n d g la n c e . H avin g b een p u b lish e d in 1920, A r ia da C ap o1 s p r in c ip a ls P ie r r o t and C olu m bin e a n ticip a te th o se of both F a u lk n e r 's o n e -a c t d ra m a , "The M a r io n e tte s," and h is p o e m " N octu rn e." H is te c h n ic a l a p tn e ss ca n be s e e n in h is c o m m e n ts on M illa y 's c h o ic e o f w o rd s (he fin d s fa u lt w ith o n ly one w ord , one "of in e x c u sa b le c r u d e n e s s ," but d o e s not n a m e it); rh y m e (" N eith er fa lte r in g th ro u g h too c lo s e a tten tio n , n or c a r e le s s fr o m la c k of it"); str u c tu r e ("no p ad ding, no m e n ta l so ft p illo w s" ); and the th em e or "idea" (it " alon e d o e s not m a k e or m a r a p ie c e of w r it in g ,; but it is so m eth in g " ). In ad d itio n , F a u lk n er a r tic u la te s h is a w a r e n e s s of th o se c h a r a c t e r is t ic s a c q u ir e d w ith ou t c o n s c io u s e ffo r t by e v e r y you n g w r ite r , fro m th e r ea d in g done d u rin g the p e r io d of h is m e n ta l d e v e lo p m e n t, e ith e r fr o m c h o ic e or c o m p u lsio n . F in a lly , th e M illa y p ie c e a ls o b e a r s so m e in te r e s tin g r e la tio n sh ip s w ith P h il S to n e's " P r e fa c e " to the M a rb le F a u n , w h ich w a s to be p u b lish e d a lm o s t tw o y e a r s la te r , f ir s t , in th e g e n e r a l co n d em n a tio n of m u ch m o d ern p o e tr y , and, sec o n d , in so m e str ik in g s im ila r it ie s of id e a 21 In " V e r se O ld and N a scen t: A P ilg r im a g e ," S alm agu n d i (M il w a u k ee, 1932), p. 37; o r ig in a lly pu b. in D ou b le D e a le r , 4 3 :1 2 9 -1 3 1 , A p r il 1925. 142 and p h ra sin g : Stone F a u lk n er 1. I th ou gh t the m a in tr o u b le w ith 1. S o m eth in g new en ou gh . . . in A m y L o w ell and h e r gang o f . . . th is lo u d g e stu r in g of th e d r u m -b e a te r s w a s . . . th at th e y a e s th e tic m e s s ia h s of our a lw a y s had one e y e on th e b a ll e m o tio n a l V a lh a lla w ho h a v e and th e oth er e y e on th e g ra n d - one e y e on th e b a ll and the sta n d , (p. 8 ) i t a l i c s added) ~ o th er on th e g ra n d sta n d , (ita l ic s added) 2. T h ey [th e se p o e m s ] h a v e . . . a 2. A lu s ty ten u o u s s im p lic it y ; the h in t of co m in g m u s c u la r ity of god s h a v e g iv e n M is s M illa y a w r is t and e v e , (p. 7) (ita lic s str o n g w r is t . . . and th is w o rk added) . . . w ill liv e e v e n th ough M iss A m y L o w e ll in t r ic a te ly f e s to o n s it w ith b ro k en g la s s . . . . (it a lic s added) Of th is p e r io d of h is life F a u lk n er la te r w r o te , "I w a s su b je c t to the u su a l p r o s e ly tin g of an o ld e r p e r s o n , but the s tr in g s w e r e p u lle d so 22 c a s u a lly a s s c a r c e ly to in flu e n c e m y p oin t of v ie w ." If he h ad P h il Stone in m in d --a n d the p o s s ib ilit y is a str o n g o n e -- th e n p e r h a p s he did not r e a liz e ju st h ow c lo s e ly S to n e 's c h o ic e of h is rea d in g , th e m a n 's lit e r a r y p r e f e r e n c e s , and, p e r h a p s, e v en h is id e a s and p h r a sin g of th em 23 had in flu e n c e d h im . The a r tic le " A m e r ica n D ram a: E u gen e O 'N eill" is sig n ific a n t for th r e e g e n e r a l r e a s o n s . F a u lk n er m e n tio n s a n u m b er of p o s s ib le lit e r a r y in flu e n c e s on h is ow n w ork : B a lz a c , C onrad, F la u b e r t (M ad am e B o v a r y ), H auptm ann, M o e lle r , O 'N e ill (T he E m p e r o r J o n e s , The 22 " V e r se Old and N a sc e n t," S a lm a g u n d i, p . 36. 7 * 3 S ee Ch. I ll of th is d is s e r ta t io n . I h a v e a lr e a d y m e n tio n e d S to n e 's p a r t in p r o v id in g m u ch of th e su b sta n c e and a g r e a t d e a l of th e ; e n c o u r a g e m e n t fo r F a u lk n e r 's tr e a tm e n t of th e S n op es m a t e r ia ls . S ton e, In terv iew N o. 1, s a id th at he p rod d ed F a u lk n er o v er and o v e r a g a in , "W hen a r e you goin' to w r ite m y book, B ill? " I g a th er e d th at h e m e a n t n ot on ly T he H a m let but a ls o The Tow n and The M a n sio n . 143 S tra w , A nna C h r is tie , G old, D if f r e n t, and of th e s e the f i r s t th r e e a r e " p layin g in N ew Y ork th is w in te r " ), S h a k e sp e a r e (L e a r , H a m let, A l l1 s W e ll), and Synge (The P la y b o y of the W e ste r n W o rld ). A se c o n d im p o r tan t p o in t m ad e is the im p o rta n c e of tim e and p la c e in w r it in g - - lo c a l c o lo r . L e a r , H a m le t, and A l l1 s W ell co u ld n e v e r h a v e b e e n w r itte n a n y w h ere s a v e in E n glan d during E liz a b e th 's r e ig n . N or c o u ld M ad am e B o v a ry have b e e n w r itte n in any p la c e o th er th an th e R hone v a lle y in the 18th [s ic ] cen tu ry . . . . B a lz a c found h is m a t e r ia ls in n in e te e n th -c e n tu r y P a r is . "Synge i s p r o v in c ia l, sm a c k in g of the s o il fro m w h ic h he sp r a n g as no oth er m o d e r n d o e s. . . ." One g r e a t p r o b le m of A m e r ic a n w r itin g is th at " A m e r ic a h a s . . . no tr a d itio n ." R e la te d to "the w ea lth of n a tu ra l d r a m a tic m a t e r ia l in th is cou n try" is the " g r e a te s t so u r c e " of our lan gu age: A n a tio n a l lite r a tu r e ca n n o t sp rin g fr o m fo lk lo r e - -th o u g h h e a v e n k n o w s, su ch a fo r c in g h a s b e e n tr ie d often e n o u g h --fo r A m e r ic a is to o b ig and th e r e a r e to o m a n y fo lk lo r e s : S ou th ern n e g r o e s , S p an ish , and F r e n c h s tr a in s , the o ld w e s t, fo r th e s e a lw a y s w ill r e m a in c o llo quial; nor w ill it co m e th ro u g h our sla n g , w h ic h a ls o is lik e w is e in - | d ig e n o u s to r e s t r ic t e d p o r tio n s of th e c o u n try . It can , h o w e v e r , com e fr o m th e str e n g th of im a g in a tiv e id io m w h ic h is u n d ersta n d a b le b y a ll w ho r e a d E n g lish . N o w h ere to d a y , sa v in g in p a r ts of Irelan d , i s the E n g lis h la n g u a g e sp o k en w ith the sa m e e a r th y str en g th a s it is in the U n ited S ta te s. . . . A n o th er im p o rta n t a s p e c t of " A m e r ica n D ram a: E u gen e O 'N eill" lie s in th e su b m e r g e d fo c u s upon O 'N e ill h im s e lf; but e v e n so , th e p la y w rig h t s e e m s sig n ific a n t o n ly in an a n c illa r y w a y , h is n am e s e r v in g as ; a c o n v e n ie n t r e f e r e n c e fo r th e c r it ic 's o b s e r v a tio n s . F o r e x a m p le , I O 'N e ill m a y be an e x c e p tio n to th e id e a of r e g io n a l n e c e s s it y in w ritin g ,; and-as--s-ueh-both he an d .C on rad a r e " a n o m a lie s." O 'N e ill, lik e S yn ge, h as " g o tten . . . fo r c e b eh in d sta g e la n g u a g e. . . ." And, fin a lly , O 'N eillj h a s d e v e lo p e d a ch an gin g a ttitu d e to w a rd h is c h a r a c te r s , a change fr o m d e ta c h e d 144 o b s e r v a tio n of h is p e o p le b ro u g h t lo w b y s h e e r c ir c u m s ta n c e , to a m o r e p e r s o n a l r e g a r d fo r th e ir jo y s and h o p e s, th e ir s u ffe r in g s and d e s p a ir s . T h is la s t c r it ic a l r e m a r k r e v e a ls F a u lk n e r 's s e n s it iv it y to w a rd th e c o n c e p t of an a r tis t's h a v in g not m e r e ly sy m p a th y fo r , but a ls o em p a th y w ith h is c h a r a c te r s . In h is fifth c r it ic a l a r t ic le , " A m e r ica n D ram a In h ib itio n s," M a rch , 1922, F a u lk n er r e su m e d h is c e n s u r e of co n te m p o ra r y A m e r ic a n a r t is t s fo r su b je c tin g th e m s e lv e s to the sh a llo w d em a n d s of a sh a llo w r e a d in g p u b lic: a fra n k p a n d erin g to the F ra n k C rane m a r k e t--h o ld in g a s p ir itu a l sp itto o n , s o to sp e a k , fo r th at s tr a ta w h ich , u n fo rtu n a tely , h a s m o n ey in th is co u n try . . . . A r t is t ic a s p ir a tio n s a r e too lo w o r , w o r s e , la c k in g a lto g e th e r . W r ite r s a r e " so p a th e tic a lly to r n b e tw e en a d e s ir e to m ak e a fig u r e in th e w o rld and a m o rb id in t e r e s t in th e ir p e r s o n a l e g o s . . . ." B e c a u se of th e " p au city of m e n ta l b a la n ce" of A m e r ic a n w r it e r s , " on ly the r ic h n e s s of : our la n g u a g e s a v e s th em ." T h ey a r e m o tiv a te d by an " in stin c tiv e q u ic k n e ss to r e a liz e o u r sim p le r n e e d s , and to su p p ly th em fr o m any s o u r c e ." T h o se w ho a r e m o st s u c c e s s f u l h a v e too o ften found it n e c e s s a r y to e s c a p e the th in a r t is t ic a tm o sp h e r e of A m e r ic a : O 'N e ill h a s tu rn ed h is back on A m e r ic a to w r ite of the s e a , M a rsd en | H a r tle y e x p lo d e s v in d ic tiv e f ir e c r a c k e r s in M o n tm a rtre, A lfr e d j K r ey e m b o rg has g o n e to Ita ly , and E z r a F ou nd fu r io u s ly to y s w ith i sp u rio u s b ro n ze in L ondon. A ll h ave fou n d A m e r ic a a e s t h e tic a lly im p o s s ib le ; y e t, b e in g of A m e r ic a , w ill so m e day retu rn , a fe w in to j d y sp e p tic e x ile , o th e r s to w r ite jo y o u sly fo r the m o v ie s . j F a u lk n er a ls o r e f e r s to Sigm und F reu d , but w ith lit t le s e n s e of recogn i-i tion : h is p sy c h o lo g y i s a " deadly fruit" g r a fte d "upon th e d y n a m ic c h a o s of a h o d g e -p o d g e of n a tio n a litie s ." C ontinuing, F a u lk n er w r ite s of a N ew Y ork d ram a c r it ic w ho r e la te d to h im the s to r y of h is fr ie n d > 145 R o b ert E dm und J o n e s, a s ta g e d e s ig n e r , w ho r e p a ir e d "to a c e r ta in p r a c titio n e r of th e new th e r a p e u tic p s y c h o -a n a ly s is " ; in sh o r t, th e m an "w as 'sik e d '" and r e c o v e r e d . The w h o le e p iso d e h a s a sa r d o n ic to n e. The d e s ig n e r , an illu s t r a t io n of a m a n w ith so m e ta le n t, had s u c c e e d e d sim p ly in sla y in g the "dragon" w h ich h e h im s e lf had " r a ise d ." F in a lly , p s y c h o a n a ly s is is c la s s e d a s a "tenden cy" to be co m b a ted , alon g w ith " s o c ia lis m " and an " a e s th e tic attitud e" w h ich a re " p ro fita b le a s w e ll as p o p u la r . 24 The d e tr a c to r y to n e of F a u lk n e r 's r e f e r e n c e s to F r e u d and p s y c h o a n a ly s is is im p o rta n t, it s e e m s to m e , in e s ta b lis h in g th e d e g r ee of F r e u d 's in flu e n c e on h im . S e v e r a l c r it ic s a s su m e th at an in flu en ce e x is t s . O 'C onn or, The T a n g led F ir e . . ., p. 70, q u o tes a p a s s a g e fro m M iss Z ilp h ia Gant w ith the co m m en t th a t h e r d r e a m s " se e m to co m e str a ig h t out of a F r e u d ia n c a s e study"; on p. 162 he a p p lie s the te r m " F reu d ia n m ilie u " to both "A R o se fo r E m ily " and M iss Z ilp h ia G ant. S ta n ley D. W oodw orth, W illia m F a u lk n er en F r a n c e (P a r is , 1959)» p. 101, m e n tio n s F a u lk n e r 's d eb t to F r e u d , am on g o th e r s, r e la tin g h is r e - : m a r k to th e u se of in te r io r m o n o lo g u e and q u a lify in g it: "De m e m e , b ie if que F a u lk n er d o iv e b eau cou p . . . h F r e u d , c 'e s t une d ette p u rem en t te c h n iq u e ." F a u lk n er , h o w e v e r , in F a u lk n er in the U n iv e r s ity , F r e d e r - j ic k L. G wynn and J o sep h L . B lo tn e r , e d s . (C h a r lo tte s v ille , V ir g in ia , 1959), " S e s sio n T h ir ty -T w o ," D ep a rtm en t of P s y c h ia tr y , M ay 7, 1958, p. 268 , m a in ta in e d th at h e h ad no id e a w h e r e h e le a r n e d h is p sy ch o lo g y : , "O nly w h a t I h a v e le a r n e d abou t it fr o m lis te n in g to p e o p le th at do know . W hat lit t le p s y c h o lo g y I know the c h a r a c te r s I h ave in v en ted and playing: p ok er h a v e tau gh t m e . F r e u d I'm n ot fa m ilia r w ith " (it a lic s added). O nce a g a in , P h il S ton e, In te r v iew N o. 1, p r o v e s u se fu l, h i a n sw er to m y q u estio n , "W hat ab ou t F a u lk n e r 's k n ow led ge of p s y c h o lo g y -- F r e u d and ; Jung?" Stone r e p lie d , "He w o u ld n 't r e a d F r e u d . I tr ie d to g et h im to . I] tau gh t at h im , but he w o u ld n 't lis t e n . H e w a sn 't in t e r e s t e d in p s y c h o lo - | gy." P e r h a p s c r it ic a l c o n fu sio n h a s r e s u lte d fr o m F a u lk n e r 's o r ig in a l i r e f e r e n c e to F r e u d in th is M is s is s ip p ia n a r tic le and h is p h en o m en a l in -j tu itiv e a p p lic a tio n s of p s y c h o lo g y . V in cen t F . H opp er, " F a u lk n er 's I P a r a d is e L o st," V ir g in ia Q u a r te r ly R e v ie w , 2 3 :4 2 0 , S u m m er 1947, h a s ; h oted , "T he n o v e ls a r e m ir r o r s of 'an yon e' in th e v e r y s p e c if ic s e n s e j ih.at th e y con tain , to r e s o r t to the la n g u a g e of p s y c h o a n a ly s is , th e co n - j flic t o f E g o , S u p e r -E g o and Id, e x p r e s s e d in th e h a lf-c o m p r e h e n s ib le I im a g e r y o f the d r e a m -s ta te ." T hus, it s e e m s qu ite lik e ly that F a u lk n eri n e v e r r e a lly stu d ied F r e u d 's w ork , or e v en r ea d h im w ith any d e g r e e ofj th o r o u g h n e ss. R a th e r , he a tta in ed h is k n ow led ge of p s y c h o lo g y in d irect-j ly , th ro u g h c o n v e r s a tio n s w ith Stone and o th e r s , and in tu itiv e ly a p p lied w hat on ly a p p ea rs to be a te c h n ic a l k n ow led ge of F re u d ia n m e th o d s. 146 " A m e r ic a n D ra m a In h ib ition " is s ig n ific a n t in a t l e a s t th r e e o th er w a y s. F i r s t , th e y o u n g c r it ic in d ic a te s an a w a r e n e s s of th e im p o r ta n c e of d r a m a tic s tr u c tu r e . In th e f ir s t p a r a g r a p h , h e w r it e s o f "a fu n d a m en ta lly sou n d p l a y - - a s tr u c tu r e s o lid ly b u ilt, but b e lie v e s th a t su c h a g o a l is h o p e le s s a s lo n g a s th e ju d g m en t of im a g in a tiv e p e o p le is " te m p o r a r ily a b e r r a n t." A p la y sh o u ld be " b u ilt a c c o r d in g to sou n d r u l e s - - i . e . , s im p lic it y and s tr e n g th of la n g u a g e , th o ro u g h k n o w led g e of m a t e r ia l, and c la r it y of p lo t." S eco n d , F a u lk n e r c o n tin u e s to e x p r e s s a k e e n in t e r e s t in th e p o s s ib ilit ie s o f r e g io n a lis m in lit e r a t u r e , n a m in g a s "an in e x h a u stib le fund o f d r a m a tic m a te r ia l" the A m e r ic a n ra w m a t e r ia ls of lo c a l c o lo r , s p e c if ic a lly "the old M is s is s ip p i r iv e r d a y s" and th e " r o m a n tic grow th of r a ilr o a d s ." In r e t r o s p e c t , th e o b s e r v a tio n is an in t e r e s t in g on e, fo r h e e v e n tu a lly u s e d th e s e t tin g s , n o t o n ly in a t r a d itio n a l s e n s e ( e .g ., S a r to r is and T he U n v a n q u ish ed ), but a ls o in a m o d e r n s e n s e (T he O ld M an ). The lit e r a r y a r t is t "w ith r e a l a b ility fin d s 25 s u ffic ie n t w h a t he h a s to hand." F a u lk n e r 's r e v ie w of J o se p h H e r g e s h e im e r 's L in d a C on d on , C y th e r e a , and T he B r ig h t Shaw l is c u r io u s . . . co n ta in in g at o n ce a str o n g a tta c k on H e r g e s h e im e r 's ! w o r k and y e t, in p a r t, a d e s c r ip tio n of th e c h a r a c t e r is t ic s th a t w ould; la t e r be e v id e n t in th e w o r k of F a u lk n er th e n o v e lis t. 25 F a u lk n er n o te s th a t M a rk T w ain u s e d th e r e g io n a l m a t e r ia ls of th e M is s is s ip p i R iv e r; h o w e v e r , th e you n g c r it ic , e it h e r th ro u g h an | io v e r -z e a lo u s d e s ir e fo r " lite r a r y c le v e r n e s s " or p u re ig n o r a n c e a r is - ! in g fr o m a la c k of c lo s e , p e r c e p t iv e r e a d in g --p r o b a b ly b o t h - - c h a r a c t e r s i z e s M ark T w a in a s "a h a c k w r it e r w ho w o u ld not h a v e b e e n c o n sid e r e d ! fo u rth r a te in E u ro p e, w h o tr ic k e d out a few o f the o ld p r o v e n 1 s u r e f i r e ’ lit e r a r y s k e le to n s w ith s u ffic ie n t lo c a l c o lo r to in tr ig u e th e su p er-; f ic ia l and th e la z y ." A c tu a lly , T w a in w a s a c k n o w le d g e d and a d m ir e d in E u ro p e lo n g b e fo r e h e a c h ie v e d s e r io u s r e c o g n itio n in A m e r ic a . ! 147 To illu s t r a t e , F a u lk n e r s ta te s th a t H e r g e s h e im e r h a s n e v e r w r itte n a n o v e l - - so m e o n e h a s y e t to c o in th e w o r d fo r e a c h u n it of h is w o r k --L in d a C ondon [ s i c ], in w h ic h he r e a c h e d h is a p ex , is n ot a n o v e l. It is m o r e lik e a lo v e ly B y za n tin e f r ie z e : a fe w u n fo r g e tta b le f ig u r e s in s ile n t a r r e s t e d m o tio n , fo r e v e r b ey o n d th e r e a c h of tim e and tr o u b lin g th e h e a r t lik e m u s ic . F a u lk n e r 's w o r k h a s b een c r it ic i z e d fo r s im ila r d e f ic ie n c ie s and s t r e n g t h s T h e you n g c r it ic c o n tin u e s h is v e r b a l fo r a y u p o n m o d e r n w r it e r s and th e ir " d e lib e r a te p a n d e rin g to th e e m o tio n s," u p o n a l i t e r a tu re w h ic h h a s b e c o m e m e r e " g e s tu r e s in t in s e l." H e r g e s h e im e r 1 s C y th e r e a is d is m is s e d f i r s t a s " n oth in g," th en a s "A p a lp a b le and b o o t l e s s a ttem p t to ap e th e lit e r a r y c o lo r s of the d a y ." F a u lk n er in d ic a te s th a t g o o d m o d e r n lit e r a tu r e sh o u ld be r e a l i s t i c , b u t th at H e r g e s h e im e r w ith C y th e r e a and The B r ig h t Shaw l " h as tr ie d to e n te r l if e , w ith d i s a s tr o u s r e s u lts" : S in c la ir L e w is and th e N ew Y ork T im e s [ s i c ] h a v e c o r r u p te d h im . He sh o u ld n e v e r tr y to w r ite about p e o p le at a ll; he sh o u ld sp en d h is ; tim e , if he m u s t w r ite , d e s c r ib in g t r e e s or m a r b le fo u n ta in s , h o u s e s i or c it ie s . H e re h is a b ility to w r ite f la w le s s p r o s e w o u ld n o t be t o r - j tu r e d by h is u n fortu n ate r e a c tio n s to th e a p is h im b e c ilit ie s of th e hu-j m a n r a c e . A s it i s , h e i s lik e an e m a s c u la te p r i e s t su r ro u n d e d b y th e p u p p ets he h a s c a r v e d and c lo th e d and p a in te d - - a t e r r i f i c w o r ld w ith o u t m o tio n o r m e a n in g , ( it a lic s added) The r e f e r e n c e to L e w is and th e N ew Y o rk T im e s is so m e w h a t p u z z lin g , 2 £ > G eo rg e P . G a r r e tt, J r ., " F a u lk n e r 's E a r ly L ite r a r y C r iti c is m ," T e x a s S tu d ie s in L ite r a tu r e and L a n g u a g e , 1 :5 -6 , S p rin g 19 5 9 . L a u r e n c e S ta llin g s , in te r v ie w e d by th e F u lle r to n J u n io r C o lle g e L it e r a r y C lub , r e c o r d e d by m e (F u lle r to n , C a lifo r n ia ), 8:00 P .M ., J a n u a ry i 22, I 9 6 0 , in a n s w e r to a q u e s tio n about th e q u a lity of F a u lk n e r ’ s w ritin g ] sa id , " B r illia n t. W hy, I r e m e m b e r w h a t H e m in g w a y sa id a b o u t it. . . . j fW e m ig h t a s w e ll a ll q u it'.--y o u and m e and F it z g e r a ld an d a ll of u s I' j But th e n H em in g w a y sa id , 'A fte r I r e a d about e ig h ty or n in e ty p a g e s . . ; it h it s y o u lik e a sh o t of in s u lin b r in g in g you out o f sh o ck [a c tu a lly , t h is ! is e ith e r a S ta llin g s or H em in g w a y m is c o n c e p tio n , fo r in s u lin puts a p e r s o n in sh o c k ] and you know h e a in 't a n y b e tt e r . B ill F a u lk n er d o n ’t iever fin is h a b o o k . N e v e r h a s fin is h e d a b o o k .1" 148 u n le s s F a u lk n er lo o k e d u p on H e r g e s h e im e r 's w o r k as a n a r t is t ic d e f e r r in g to p o p u la r d em a n d s (and, if so , th e c r it ic i s m of L e w is s e e m s d e fi c ie n t). S tr a n g e ly en ou gh , a s G eo rg e G a r re tt, J r ., n o ted , F a u lk n er s e e m s to be w r itin g a s m u ch o f h im s e lf as of H e r g e s h e im e r . H is M a r b le F a u n ," M a r io n e tte s," and " N o ctu rn e," a r e s u g g e s te d b y the e m p h a s iz e d p o r tio n s of th e q u o ta tio n a b o v e . In a d d itio n , the p a r t of th e q u o ta tio n r e f e r r in g "to th e a p is h im b e c ilit ie s of th e h u m an r a c e " s t r ik e s m e a s an innuendo o f m isa n th r o p y . H a v in g r e tu r n e d fr o m a s ix -m o n th tr ip to N ew Y ork, F a u lk n er w a s p r o b a b ly d isa p p o in te d at h a v in g had no s u c c e s s w ith p u b lis h e r s . S o m e e v id e n c e of a d is c o u r a g e m e n t tin g ed w ith b itte r n e s p c a n be s e n s e d in th is fin a l c r it ic a l p ie c e p u b lish e d in th e M is s is s ip p ia n . In su m m a r y , t h e s e c r it ic a l w o r k s g iv e a n in t e r e s t in g p ic tu r e of F a u lk n e r 's c r e a tiv e p r o g r e s s . G a r r e tt s a y s , T h ey sh ow a youn g m a n w h o se lit e r a r y a w a r e n e s s a t an y tim e w o u ld j h a v e to b e c a lle d c o n s id e r a b le , an d th e y a ls o g iv e an in d ic a tio n of j w h a t he w a s r ea d in g in th o s e d a y s . But p e r h a p s m o r e im p o rta n t a r e j th o s e id e a s w h ic h h e h a s not o u tg ro w n or ab an d on ed , bu t h a s c o n tin u ed to c u ltiv a te in h is c r e a tiv e w ork : an e m p h a sis in a ll lit e r a r y fo r m s on a r t if ic e to d is tin g u is h a r t fr o m l i f e , a c o n c e p t of c o m p le te i f id e lity to c h a r a c te r , a d e v o tio n to th e A m e r ic a n s c e n e , a s e n s e of th e v ita lity of la n g u a g e , and, fin a lly , a p o s it io n th a t a r t, h o w e v e r tru th fu l and t r a g ic , m u s t b e a p o s it iv e s ta te m e n t a g a in s t a n a r c h y and; c h a o s . F e w of h is p r o f e s s io n a l c r it ic s c a n sh ow a s m u ch c o n s is t e n - I c y .27 3h a d d itio n to G a r r e tt's g e n e r a l o b s e r v a tio n s , w ith w h ic h I am in a c c o r d , I th in k it is e v id e n t th a t F a u lk n e r d e m o n str a te d a g ro w in g and d e e p e n in g --th o u g h not y e t d e c i s i v e - - i n t e r e s t in th e r ic h p o s s ib ilit ie s of | r e g io n a l r e a lis m and lo c a l c o lo r . 27 G a r r e tt, " F a u lk n e r 's E a r ly L ite r a r y C r itic is m ," pp. 9 - 1 0 . 149 F a u lk n e r 's r e m a in in g p u b lic a tio n s in 1922 in c lu d e a p r o s e 28 sk e tc h , "The H ill," p u b lish e d in th e M is s is s ip p ia n on M a rch 10, and the p o em " P o r tr a it," f ir s t p u b lish e d in T he D ouble D e a le r in Jun e, 29 1922. The th em e of th e p o e m , young lo v e and in n o cen t p a s s io n , is te m p e r e d w ith a kind of sa d , a ll- s e e i n g w isd o m : th e p a r tic ip a tin g p o et s e e m s to stan d a sid e in b ro o d in g o m n is c ie n c e w h ile th e g ir l's " talk of lif e , p rofo u n d in you th . . . . is c le a r w ith fr a n k su r p r ise ." The s c e n e is a sh ad ow ed , fa m ilia r s t r e e t , and th e c o u p le 's p a s s io n e m e r g e s w ith p o w er and beauty: A nd w e h e a r a g a in a m u sic both have h e a r d . S in gin g b lo o d to b lo o d b e tw e en our p a lm s . C om e, lif t y o u r e y e s , you r tin y scr a p of m ou th So lig h tly m o b ile on you r d im w h ite fa ce; A lo o fly ta lk of lif e , p rofou n d in youth, (p. 45) W ith in th e tr a d itio n a l v e r s e f o r m - - t h e r e a r e s ix q u a tr a in s, the lin e s a r e g e n e r a lly d e c a s y lla b ic , so m e w h a t in c o n s is te n tly ia m b ic and t r o c h a ic - - F a u lk n er s u c c e e d e d in c r e a tin g so m e o r ig in a l e f f e c t s . F o r e x a m p le , in* th e s e lin e s he a v o id s , though w ith so m e p r e c io s it y , th e u su a l r o m a n tic c o m m o n p la c e s of n otin g th at it is dark, th a t g ir l is sh y and, th e r e fo r e , * c lo s e s h e r e y e s : R a ise you r hand, th en , to you r s c a r c e s e e n fa c e A nd draw th e opaque c u r ta in s on your e y e s . . . . (p. 46) E v en w ith in th e c o n fin es of tr a d itio n a l fo r m , he b le n d s old id e a s w ith im a g in a tiv e new e x p r e s s io n . 2 ft | Pp- 2. T he s k e tc h is u n sig n ed , but the M a rch 17 is s u e of jthe M is s is s ip p ia n , p. 5, m a k e s th e c o r r e c tio n , p o in tin g out th at th e p ie c e sh o u ld h a v e a p p ea red o v e r th e in it ia ls "W. F ." ^ H I , 337. R e p rin ted in S a lm a g u n d i, pp. 4 5 - 4 6 . Q u otation s fro m " P o rtr a it" a r e ta k en fr o m S alm agu n d i and a r e in d ic a te d by p a g e nu m b e r s in p a r e n th e s e s . 150 F o r a n u m b er of im p o rta n t r e a s o n s ,!The H ill" s tr ik e s m e as a h ig h ly sig n ific a n t p ie c e of F a u lk n e r 's e a r l y w ork. F ir s t , it s e r v e s as a. k in d of b rid g e b e tw e e n F a u lk n er the p o e t and F a u lk n er the n o v e lis t. T he p o e tic d e v ic e s a r e e v id e n t in the ly r i c i s m of th e p r o s e it s e lf : B efo re h im and s lig h tly a b ove h is h e a d , the h ill c r e s t w a s c le a r ly la id on th e sk y . O ver it s lid a s ib ila n t in v is a b ility [ s ic ] of w in d lik e a s h e e t of w a t e r . . . . T h r e e p o p la rs tw in k led t h e ir le a v e s a g a in st a g r a y su n n ed w a ll o v e r w h ic h lea n ed p e a c h and a p p le t r e e s in an e x tr a v a g a n c e of f r a g ile p in k and w h ite . . . bent n a r r o w ly to th e q u iet r e s i s t l e s s c o m p u lsio n of A p r il in t h e ir b ra n ch es . . . th e s ilv e r m is t o f th e ir n e v e r c e a s in g , n e v e r e sc a p in g le a v e s . . . . the he a r t-tig h te n in g g r a c e of the p o p la r s . . . . The su n plu n ged s ile n t ly in to th e liq u id g r e e n of th e w e s t . . . . A n d a s the su n r e le a s e d h im . . . . H e r e , in th e du sk , n ym p h s and fa u n s m ig h t rio t to a sh r illin g of th in p ip e s , to a s h iv e r in g and h is s in g of cy m b a ls in a sh arp v o lc a n ic a b a se m e n t b e n eath a t a ll ic y s t a r , ( it a lic s added) H e r e , I h ave e m p h a siz e d th e p a s s a g e s w h ic h p e r ta in to the M a rb le F au n and F a u lk n e r 's o th er e a r ly p o e tr y c o m p o s e d during th e th r e e y e a r s p r io r to th e p u b lic a tio n of "T he H ill": b o th R o m a n tic and F r e n c h S ym b o lis t d e v ic e s a r e s t i l l o b v io u s enough, b u t, m o re s p e c if ic a lly , the r e c u r rin g im a g e of p e r s o n ifie d pop lar t r e e s , along w ith r e f e r e n c e s to "a g r a y sunned w a ll," n y m p h s, fau n s, and th e m u sic o f "thin p ip e s ," e c h o e s h is f ir s t v o lu m e of p o e tr y ; and "a t a ll i c y star" h a r k s b ack to " N oc tu r n e ," p u b lish e d n e a r ly a y e a r b efo re th e p r o se sk e tc h . V a r io u s r e la - 30 tio n sh ip s b e tw e e n F a u lk n e r 's f ir s t n o v e l, S o ld ie rs' P a y (1 926), and n o t only "T he H ill" but a ls o F a u lk n er 's o th er p o e tr y , in clu d in g the M a r- 3 1 b le F au n , co u ld e a s il y be tr a c e d . A g a in as in " T h e H ill," th e im a g e of 30 N ew Y ork. R e p r in te d by S ig n e t Books (N ew Y ork, 1 9 5 9 ). A ll j p a g e r e f e r e n c e s a r e to th e S ig n et ed. a n d w ill be in d ic a te d b y n u m b ers ; in p a r e n th e s e s . I h a v e c h e c k e d a ll q u o ta tio n s r e f e r r e d to in th is m o r e ; a c c e s s ib le r e p r in t a g a in s t th o se of th e f i r s t e d itio n and h a v e found th em to be c o n s is te n t. O I M a rb le F au n im a g e s : "dark t r e e s lik e s p ille d ink" (p. 216); 151 p e r s o n ifie d p o p la r s is e m p lo y e d , th is tim e in a p p lic a tio n to th e h ero in e:: " h er c r u m p lin g b od y, lik e a s tr ic k e n p o p la r" (p. 6 6 ). In th e sa m e n o v e l one fin d s a p r e v a ilin g r o m a n tic tr e a tm e n t of la n d s c a p e s a t d u sk , c o m p le te w ith n ym p h and fa u n {cf. p. 2 4 3 ). E a r ly in th e n o v e l, th e fa c e of one c h a r a c t e r is d e s c r ib e d a s "a rou n d m ir r o r b e fo r e w h ic h fa u n s and n ym p h s m ig h t h a v e w a n to n ed w h en th e w o r ld w a s young" (p. 4 1 ), a p h r a sin g c lo s e en ou g h to "T he H ill's " s im ila r " in th e d u sk n y m p h s and fa u n s m ig h t r io t to a s h r illin g of th in p ip e s . . . . " In a d d itio n to s e r v in g a s a lit e r a r y n e x u s b e tw e e n F a u lk n e r 's p o e tr y and p r o s e , "The H ill" i s a ls o th e f i r s t w o r k in w h ich the l i n e a m e n ts of h is m y th ic a l J e f f e r s o n a p p ea r: H ere and th e r e a th r e a d of sm o k e b a la n c e d p r e c a r io u s ly upon a c h im n e y . T he h a m le t s le p t, w r a p p e d in p e a c e and q u iet b e n e a th th e e v e n in g sun, a s it had s le p t fo r a cen tu ry : w a itin g , in v is ib ly h o n e y co m b ed w ith jo y s and s o r r o w s , h o p e s and d e s p a ir s , fo r th e en d of t im e . F r o m th e h illto p . . . w e r e to b e s e e n no c lu tte r e d b a r r e n lo ts so d d e n w ith s p r in g r a in and ch u rn ed and to r n b y h oof o f h o r s e and c a ttle , no p ile s of w in te r a s h e s and r u s tlin g t in ca n s . . . ta tte r e d in-! s a n it ie s of p o s te d s a la c it ie s and a d v e r t is e m e n t s . . . . no s u g g e s tio n I of s tr iv in g , of w h ip p ed v a n it ie s , of a m b itio n and lu s t s , of the d r y in g s p ittle of r e lig io u s c o n tr o v e r s y : he c o u ld not s e e the so n o r o u s s i m p lic it y of th e c o u r t h o u se c o lu m n s w e r e d is c o lo r e d and s ta in e d w ith I c a s u a l to b a c c o . . . . T h e slo w f e a t u r e le s s m e d io c r it y of h is fa c e tw is te d to an in t e r n a l im p u ls e . . . b e fo r e h im la y th e h a m le t w h ic h w a s h o m e to h im , th e d e s c r ip tio n of m o r n in g a s " m a rb led " (p. 203); r o m a n tic n atu re b c e n e s (pp. 7 0 , 216-218). O th er p o e m s: The lin e "L a lun e e n g ra d e a u - cune r a n c u n e " (p. 93) is c lo s e en ou gh to the fin a l lin e o f F a u lk n e r 's ! f'F a n to u ch es" [ s i c ], "L a lu n e ne g r a d e au cu n e r a n c u n e ," and co n ta in s th e sa m e in c o r r e c t v e r b u s a g e "g r a d e " in w h a t sh o u ld p r o b a b ly be th e ! e x p r e s s io n "g a r d e r r a n c u n e " {'to ow e a g r u d g e '). F o r fu r th e r c la r i f i- j c a tio n s , s e e M e r iw e th e r , L ite r a r y C a r e e r , p . 9 0 . " N octu rn e" : th e d e - jscrip tio n of a g a r d e n 's p e a r tr e e a s b r a n c h in g , w h ite c a n d e la b r a , p . 75; j and on th e s a m e p a g e , th e fr u it b lo s s o m s le a n in g a c r o s s a su n n y garden! ■yvall s u g g e s t a s im ila r d e s c r ip t io n in th e s e c o n d p a r a g r a p h of "T he H ill." F in a lly , th e p o e m " P o r tr a it" i s s u g g e s te d in the d e ta ile d s c e n e of " q u iet, e lm -s h a d e d s t r e e t s . . . a lo n g w h ic h g ir ls and b o y s w a lk e d in ! the e v e n in g to and fr o m th e p ic tu r e sh ow " (p. 121). ___ th e T ie le s s c a su a l. . . . The g e n e r a l ou tlin e of J e ffe r s o n p r e fig u r e s h e r e a s a s le e p in g " h a m let, w ra p p ed in p e a c e and q u iet . . . a s it h ad s le p t fo r a c e n tu r y " --e v e n the to w n 's age is g e n e r a lly a c c u r a te . The h a m le t's lif e is c lu s te r e d about th e c o u r th o u se w ith it s co lu m n s " sta in ed w ith c a s u a l to b a cc o ," th is " h a m let w h ic h w a s h o m e to h im ." The liv e s of its p e o p le a r e c o n su m ed in h a r d w o rk , r e p r e s e n te d and a ck n o w led g ed by th e " T ie le s s c a su a l," w ho h a s ju st sp en t a day at " h a rsh la b o r w ith h is h a n d s, a s tr ife a g a in st th e f o r c e s o f n a tu re to ga in b r e a d and c lo th in g and a p la c e to s le e p ." F o r th e f ir s t tim e in any p ie c e of F a u lk n e r 's w ork , c o n s c io u s a u to b io g r a p h ic a l s u b s ta n c e --t h e stu ff of r e g io n a l r e a l i s m - - s e e m s c le a r ly to e m e r g e and to d om in a te o th er e le m e n ts su c h a s ly r ic is m , w h ich , though s t i l l str o n g , is h e r e su b o rd in a te to co n ten t. A t th is tim e it s e e m s c le a r th a t F a u lk n er w a s e x p e r im e n tin g w ith r e a lis t ic lo c a l co lo r; y e t, he s e e m s to h a v e b een not quite a w a r e of w h a t he w a s d oing, not q u ite a w a re of th e r ic h p o s s ib ilit ie s of an e x p e r im e n t w h ic h s e e m s to h a v e b e e n e x e c u te d w ith u n c o n s c io u s ly c o m p u lsiv e p o w e r . H is in d e c is iv e n e s s ca n be p a r tia lly illu s tr a te d w ith s t i l l a n o th er im a g e , w h ich m a y h e lp u s to u n d ersta n d h is m o tiv a tio n s m o r e c le a r ly . A s th e T ie le s s c a s u a l w a lk s h o m e fr o m h is h a r d d a y 's la b o r and a p p ro a c h e s the h a m le t , h e p a u s e s upon th e c r e s t of a h ill: B eh in d h im w a s th e m o t io n le s s c o n fla g r a tio n of su n set; b e fo r e h im w a s the o p p o site v a lle y r im upon th e ch an gin g sk y . F o r a w h ile he ■ sto o d on one h o r iz o n and s ta r e d a c r o s s at the o th er, fa r above a w o r ld of e n d le s s t o il and tr o u b le d slu m b er ; u n tou ch ed , u n tou ch ab le; I fo r g e ttin g , fo r a sp a c e , th a t h e m u st r e tu r n .* * * [s i c ] The p r o ta g o n ist s e e m s ta u tly su sp e n d e d b e tw e e n tw o w o r ld s . W e r e c a ll th e s a m e s o r t of te n s io n in su ch w o r k s as th e M arb le Faun, 153! " C ath ay,” and " N o c tu r n e " --a te n s io n b e tw een p a s t and p r e s e n t. I h ave a lr e a d y d is c u s s e d F a u lk n e r 's p r o b le m of id e n tity d u rin g th e s e y e a r s , and how h is g r e a t-g r a n d fa th e r C o lo n e l W illia m C uth bert F a lk n er s e e m e d to r e p r e s e n t fo r h im th e g lo r y of the S ou th ern p a s t, alth ou gh it s o m e tim e s a p p ea r s th at th e p r im a r y e m p h a sis on th e old C o lo n el g iv e s 32 w a y to a s e c o n d a r y e m p h a sis on th e young C o lo n el, J. W. T. F a lk n e r . P s y c h o lo g ic a lly , su ch te n d e n c ie s in p r o b le m s of id e n tity a r e , by no 33 m e a n s , u n u su a l. C o n cern in g so m e im a g e s in th e ab ove q u otation , c e r ta in a s s o c ia tio n s w ith the p a s t ca n be in d ic a te d . The se ttin g su n m a y s u g g e s t, am on g oth er p o s s ib ilit ie s , p a s t tim e; s im ila r ly , the " c o n fla g r a tion " of th e su n se t m a y s u g g e s t b r illia n c e , fa m e , d o m in a tio n , and d e str u c tio n . The w o r ld of h o m e, th is " h am let" w h ic h is "w rapped in 32 C f. th e fic tio n a liz e d tr e a tm e n t of th e o ld C o lo n el, John S a r - t o r is , to th at of th e young C o lo n el, B a y a rd S a rto r i s , in S a r t o r is . *2 ' I E r ik H. E r ik so n , " R e fle c tio n s on the A m e r ic a n Id en tity," C hild h ood and S o c ie ty (N ew Y ork, 1950), p. 2 7 3 , m a k e s th is r e la te d ob - ; s e r v a tio n in a fo o tn o te: "In p sy c h o a n a ly tic p a tie n ts fr o m th e upper c l a s s e s th e o v e r w h e lm in g im p o r ta n c e of th e g ra n d fa th er is often a p p a r en t. He m a y h a v e b e e n a . . . r a ilr o a d b u ild e r . . . or an u n re c o n s tr u c te d S o u th e r n e r. W hat th e s e g ra n d fa th ers h a v e in co m m o n is th e fa c t th at th e y w e r e th e la s t r e p r e s e n ta tiv e s of a m o r e h o m o g en eo u s w o r ld , m a s t e r ly and c r u e l w ith good c o n s c ie n c e . . . . T h eir w o r ld in v e n te d b ig g e r and b e tte r m a c h in e r y lik e g ig a n tic p la y th in g s w h ich w e r e j n o t e x p e c te d to c h a lle n g e th e s o c ia l v a lu e s of th e m e n w ho m a d e th em , j ITheir m a s te r y p e r s is t s in th e ir g r a n d so n s as a stu b b orn , and a n g ry s e n s e of s u p e r io r ity . O v ertly in h ib ited , th ey ca n a c c e p t o th er s o n ly on j te r m s of p r e -a r r a n g e d p r iv ile g e . U n le ss th ey a r e e x c e p tio n a lly g ifted , j th e s e m e n of th e h ig h e s t s tr a ta jo in th o se fr o m th e v e r y lo w e s t o n e s in j ifeelin g tr u ly d is in h e r ite d in A m e r ic a n lif e , w h ic h d em an d s th at one e n - j jo y th e p o te n tia l p r o m is e of an e v e r m o r e u n iv e r s a l id en tity ." W hat- j e v e r th e a p p lic a tio n s of th is g e n e r a l o b se r v a tio n to F a u lk n er, h im s e lf - - | and th e r e a r e so m e in te r e s tin g p o s s ib ilit ie s w h ic h a r e ob viou s enough--: it s b road s ig n ific a n c e l i e s in it s in d ic a tio n of th e fe a s ib ilit y of a grand-j p a r e n t's r e p r e s e n tin g a d ir e c tio n of id e n tity fo r a g ra n d so n , and fo r ■reasons w h ic h co u ld p o s s ib ly ap p ly to both C o lo n e l W. C. F a lk n er and h is g r e a t-g r a n d s o n W illia m . 154 p e a c e and q u iet b e n e a th the e v e n in g sun, a s it had s le p t fo r a c e n tu r y . . . h o n e y -c o m b e d w ith jo y s an d s o r r o w s , h o p es and d e s p a ir s . . . s e e m s to b e sp e a k th e le th a r g ic p r e s e n t w h ic h d r e a m s u n d er the b r ig h t d o m in io n o f the S o u th ern p a s t. T he h a m le t l i e s in a q u ie t v a lle y . T h e re is a n o th e r h o r iz o n , but it is fa r d ista n t and r e m o te , c o n n o tin g , p e r h a p s, a n in s u b s ta n tia l fu tu re ab ou t w h ich on e ca n o n ly s p e c u la t e . N ow the T i e l e s s c a su a l, w h o se fe a tu r e s a r e c o m m e n s u r a te w ith " m e d io c r ity ," k n o w s th a t he m u s t r e tu r n to h is w o r ld o f the p r e s e n t , a w o r ld of " e n d le ss t o i l and tr o u b le d s lu m b e r ." Y et, fo r a tim e , h e stan d s "on one h o r iz o n " an d s t a r e s " a c r o s s at th e o th er." T h e im a g e a t th is m o m e n t s u g g e s ts a n is o s t a t ic co n d itio n o f in d e c is io n and s u s ta in e d te n s io n . B u t th e v ig n e t t e 's c o n c lu s io n b e c o m e s m e a n in g fu l in a n ew w ay: fo r th e f i r s t tim e th e c o n d itio n of te n s io n (e x te r n a liz e d in p r o s e , of c o u r s e , but qu ite p o s s ib ly s t i l l u n c o n s c io u s ) is a s s o c ia t e d not w ith in d i r e c t and im p a lp a b le s y m b o ls , but w ith a c o n s c io u s ly r e c o g n iz e d and r e c o g n iz a b le p la c e . The p la c e is in t r ic a t e ly d e s c r ib e d w ith su c h d e ta ils a s " b a r r en lo ts . . . to r n by h o o f of h o r s e and c a ttle ," " p ile s of w in te r a s h e s ," " tin c a n s ," " p o sted s a la c it ie s ," and " co u rt h o u se co lu m n s . . . s ta in e d w ith c a s u a l to b a cc o ." It is tru e th a t th e p r o ta g o n is t ca n n o t s e e t h e s e d e t a ils , e v e n a s he ca n n o t s e e th e s u g g e s tio n s o f " str iv in g , of w h ip p ed v a n it ie s , o f a m b itio n and lu s t s , o f the d ry in g s p ittle of r e lig io u s c o n tr o v e r s y ," but h e know s th e y a re th e r e ; and as fa r a s the r e a d e r is | c o n c e r n e d , the p r e s e n ta tio n o f t h e s e r e a li s t i c and u n p le a sa n t d e ta ils s ig n ific a n tly la c k s su c h R o m a n tic d is g u is e s a s th o s e e v id e n t in th e : M a rb le F a u n , " C ath ay," and " N o c tu r n e ." It s e e m s c le a r th at at th is tim e F a u lk n er w a s b eg in n in g to m o v e in th e d ir e c tio n o f r e g io n a l 155 r e a lis m , a lth o u g h he h ad a s y e t m a d e no c o n s c io u s d e c is io n to d ir e c t h is w r itin g p r im a r ily to w a r d th at g o a l, one w h ic h a n tic ip a te s h is m a jo r lit e r a t u r e . CHAPTER VI IN TER M EZZO : A G R EEN BOUGH A g e n e r a l dating o f th e o r ig in a l c o m p o sitio n of A G reen B ough h a s a lr e a d y b e e n e s ta b lis h e d in C h ap ter II of th is stud y. To r e c a p itu la te , h o w e v e r , I sh ou ld r e p e a t th at F a u lk n er o n ce sa id th a t he w r o te a G r ee n Bough w h en he w a s s e v e n te e n , e ig h te e n , and n in e te e n y e a r s old . A t a n o th er tim e , he s a id th a t the b e s t age fo r w r itin g p o e tr y w a s fr o m s e v e n te e n to tw e n ty - s ix . The date o f p u b lic a tio n fo r a G r ee n B ou gh , 1 9 3 3 , is o b v io u sly m is le a d in g , fo r b y 1925 F a u lk n er had a lr e a d y p r e p a r e d the b a s ic v o lu m e u n d er the t it le of The G reen in g B o u g h . One co u ld , then, lo g ic a lly a s s ig n the d a te s 1 9 1 4 -1 9 2 5 as th o se d u rin g w h ich he w r o te m o s t of h is poetry.^ In p r e v io u s c h a p te r s I h a v e n o ted th at F a u lk n er o r ig in a lly w r o te th e M a rb le Faun in th e sp r in g of 1919 and th at h e w as w o rk in g on o th er p o e m s , e s s a y s , and p r o s e w o r k s fr o m the su m m e r of 1919 to the en d of 1922 , w ith tim e out fo r w id e rea d in g , odd ; jo b s, and a tr ip to N ew Y ork . By 1922 he w a s p o s tm a s te r of th e U n i v e r s it y of M is s is s ip p i sta tio n , w h e r e he r e m a in e d e m p lo y e d u n til h is r e s ig n a tio n on O ctob er 31, 1924. A s I n o ted in C hapter V, P h il S ton e m a in ta in s th at F a u lk n er w r o te th e p o e m s of a G reen B ough w h ile h e w a s i *F or d o cu m en ted d e ta ils of th is su m m a r y , s e e Ch. II. ^ C a rv el C o llin s, "About th e S k etch es," The N ew O rlea n s S k e tc h e s (N ew B ru n sw ick , 1958), p. 10. 156 157 p o s t m a s t e r {In terv iew N o. 1). T h u s, it a p p ea r s th a t F a u lk n e r w a s w o r k - in g on th e G reen B ou gh p o e m s fr o m e a r ly 1922 to e a r ly 1925. F a u lk n e r 's r e c o r d of p u b lic a tio n sh o w s o n ly one p o em fr o m sp r in g of 1922 u n til th e M a rb le F a u n w a s p u b lish e d in D e c e m b e r , 1924, and th e r e c o r d i s e n t ir e ly b lan k fr o m D e c e m b e r , 192 2 , to D e c e m b e r , 192 4 . N o doubt h e sp e n t s o m e of th is tim e r e v is in g th e p o e m s of th e M a rb le F a u n fo r p u b lic a tio n ; but th e g r e a te r p o r tio n of th e s e m o n th s w a s v e r y lik e ly sp e n t on the c o m p o s itio n o f th e G reen B ough p o e m s . It w ou ld be u n r e a so n a b le to a s s u m e th at th e fo r ty -f o u r p o e m s of a G r e e n B ough w e r e w r itte n b y 1925 in ju s t the w a y th a t th e y a p p ea r e d in 1933. E v id e n c e d ra w n fr o m p o e m s w h ic h f i r s t a p p e a r e d in p e r io d i c a ls and th e n w e r e r e p r in te d in a G reen B ough at a la te r d ate in d ic a te s 4 th a t F a u lk n er r e v is e d h is w o r k to s o m e e x te n t. To e x p lo r e th e p o e m s w ith c o m p le te th o r o u g h n e ss w o u ld be to a n tic ip a te F a u lk n e r 's d e v e lo p - m e n t a s an a r t is t a fte r 1929 , w h ich , th ou gh in te r e s tin g , w o u ld be b e yon d th e p r o p e r lim it s of th is stu d y. T he p o e m s o f a G r e e n B ough h a v e b e e n tr e a te d w ith g e n e r a l 3 M e r iw e th e r , The L ite r a r y C a r e e r of W illia m F a u lk n e r , p. 2 3, n o te s th a t A G reen B ough "had b e e n a n n ou n ced e a r ly in 1925." In a d d i tio n , "the d ated m a n u s c r ip ts o f s e v e r a l o f the p o e m s of A G r e e n B ough ;show th a t th e y w e r e w r itte n in th e 19 2 0 's , but th e y w e r e r e v is e d and tig h te n e d fo r b ook p u b lic a tio n ." 4 G eo rg e P . G a r r e tt, J r ., "An E x a m in a tio n of th e P o e tr y of W il- ; lia m F a u lk n e r ," P r in c e to n U n iv e r s ity L ib r a r y C h r o n ic le , 18 :1 2 9 , S p rin g 11957. ^ G a rrett, "An E x a m in a tio n . . p p . 1 2 9 -1 3 1 , illu s t r a t e s F a u lk - 1 n e r 's c o n c e r n w ith r e v is io n b e tw e e n th e p u b lic a tio n of n in e of h is p o e m s in C o n tem p o , V o l. 1, N o. 17, F e b r u a r y 1, 193 2 , and th e a p p ea ra n ce; o f fiv e o f th e s e in r e v is e d fo r m in G r e e n B ough th e fo llo w in g y e a r ; s p e c if ic a lly , h e th o ro u g h ly e x a m in e s X X X V I in G r ee n B ou g h , p r e v io u s ly p u b lish e d a s "Spring" in C o n tem p o . 158 a c c u r a c y b y H a rry Runyan^ and w ith a so m e w h a t m o r e th o ro u g h u n d e r sta n d in g b y G e o rg e P . G a r r e tt, J r . T h e r e fo r e , lit t le th a t is new r e m a in s to be s a id of th e v o lu m e . I s h a ll lim it m y r e m a r k s on th e p o e m s to th r e e g e n e r a l a r e a s : f ir s t , a s u m m a r y of th e c h ie f s c h o la r s h ip and m o s t s ig n ific a n t r e v ie w s of th e v o lu m e; s e c o n d , an o u tlin e of th e p o e m s t h e m s e lv e s a s th e y p e r ta in to lit e r a r y tr a d itio n s , v a r io u s in f lu e n c e s , and F a u lk n e r 's p r e v io u s w o rk , su ch a s the M a rb le F a u n and th e M i s s i s - sip p ia n and O le M is s p ie c e s , w h ic h w ill d e m o n str a te th e w r it e r 's c o n tin u in g d e v e lo p m e n t; and th ird , a tr a c in g o f th e v a r io u s th e m e s o f th e v o lu m e , e s p e c ia lly th o se of th e a r t is t 's tr a d itio n a l p a st and h is s tr u g g le fo r id e n tity , w h ic h w ill co n tin u e to r e v e a l th e e v o lu tio n o f F a u lk n e r 's lit e r a r y and p e r s o n a l m o tiv a tio n s . I h a v e a lr e a d y m e n tio n e d R u n yan 's and G a r r e tt's a r t ic le s on '7 F a u lk n e r 's p o e tr y a s b e in g th e o n ly s ig n ific a n t tr e a tm e n ts . R u n yan r e la t e s s o m e in t e r e s t in g in fo r m a tio n c o n c e r n in g th e d atin g of a G r e e n B ough, p r io r p u b lic a tio n s of tw e lv e of the fo r ty -f o u r p o e m s , and s o m e In " F a u lk n e r 's P o e tr y ," F a u lk n er S tu d ie s , 3, N o s . 2 - 3 : 2 3 - 2 9 , S u m m e r -A u tu m n 1954. I sa y " g e n e ra l" b e c a u s e , a lth ou gh R un yan h a s s u c c e s s f u lly tr e a te d m a n y of th e b ib lio g r a p h ic a l e le m e n ts of F a u lk n er'S ; p o e tr y , h e h a s fa ile d to in c lu d e m u ch o f F a u lk n e r 's c o lle g e w o rk , e s p e c ia lly th e M is s is s ip p ia n p o e m s , e v e n th ough th e y h a v e b e e n " p u b lish ed ." T h e re is lit t le a ttem p t to r e la te th e p o e m s to a d e v e lo p m e n ta l p a tte r n (n a tu r a lly th e M is s is s ip p ia n p o e m s co u ld not h a v e b e e n r e la te d ) o r to d iffe r e n tia te b e tw e en th em in s ty le , th e m a tic s ig n ific a n c e , in flu e n c e s , o r ig in a lity , or p o e tic in te n tio n . ^ S ee Ch. HI. O th er s tu d ie s ten d to b e fr a g m e n ta r y , su ch a s F r e d e r ic k L . G w ynn's " F a u lk n e r 's P r u f r o c k - -a n d O th er O b serv a tio n s," : jo u r n a l o f E n g lis h and G e rm a n ic P h ilo lo g y , 5 2 :6 3 -7 0 , J a n u a ry 1 9 5 3 , W hich is p r im a r ily a stu d y of E lio t in flu e n c e s in M o sq u ito e s r a th e r than; G reen B o u g h . M arth a M a y e s, " F a u lk n e r 's J u v e n a lia ," N ew C am p u s W ritin g , N o. 2, ed . N olan M ille r (N ew Y ork , 1957), pp. 1 3 5 -1 4 4 , m a k e s o n ly p e r ip h e r a l c o m m e n ts and c e n te r s h e r a tte n tio n on th e M is s is s ip p i an p ie c e s . g e n e r a l o p in io n s a b ou t F a u lk n e r 's im a g e r y and in f lu e n c e s . R unyan v ie w s F a u lk n e r 's e ffo r t as '" W a ste Land' p o e tr y , p r e s e n t e d in a fin de sifecle m a n n e r ." C u m m in g s, E lio t , H o u sm a n , R o s s e t t i, and S w in b u rn e d o m in a te a s in f lu e n c e s . H is c r i t i c i s m s o f th e M a rb le F au n and a G reen B ough s e e m u n d ifferen tia ted ; b o th a re a p p a r e n tly lu m p ed to g e th e r in h is co n clu d in g se n te n c e : "The f in a l e ffe c t is one of im m a tu r e r o m a n ti- c is m ." G a r r e tt's a r t ic le is o v e r h a lf a g a in as lo n g a s R u n y a n 's, e x c lu s iv e o f th e la t t e r 's tw o -p a g e b ib lio g r a p h y of F a u lk n e r 's p o e tr y , and h is in q u ir y is m o r e e x e g e t ic a l in n a tu re. He h a s e x a m in e d th e in t e r r e la tio n s h ip s of F a u lk n e r 's p o e tr y , d is tin g u ish in g b e tw e e n h is e a r ly and la te r , r e v is e d e ffo r ts ; h a s s e e n in the p o e tr y as a w h o le a " r e s t le s s e x p e r im e n ta tio n ," "new v a r ia tio n s on the o ld e s t th e m e s" ; and h a s e v a lu a ted F a u lk n e r 's p o e tr y m u ch m o r e to le r a n tly th an R unyan. T he u lt i m a te e f f e c t of the p o e tr y , he s a y s , w r itin g th r e e y e a r s a fte r R un yan, "is not one o f 'im m a tu r e r o m a n tic is m '" (pp. 1 3 2 -1 3 4 ). R unyan, on th e o th er han d, a p p ea r s to have b a s e d h is ju d g m e n ts o n a m o r e r e s t r ic t e d r ea d in g , m a d e in th e f ir s t p la c e fo r b ib lio g r a p h ic a l r a th e r th an e x p lic a to r y p u r p o s e s . S e v e r a l r e v ie w s of a G r e e n B ough a r e w o r th y of n o te . W illia m R o se B e n e t in th e S atu rd a y R e v ie w r a te d th e w o r k as th at of a " m e r e g C o n cern in g th e dating o f G reen B ough R u n yan n o te s th e p r e m a tu r e a n n o u n cem en t of its fo r th c o m in g p u b lic a tio n in " F e b r u a r y 1925," and s p e c u la te s th at it w a s w ith h e ld p r o b a b ly b e c a u s e of "the p o o r r e c ep tio n o f T he M a r b le Faun th e y e a r p r e v io u s , an d its e v e n tu a l a p p e a r - ; a n ce to th e h op e th a t it w ou ld s u c c e e d a s a book b y th e th en fa m e d a u th o r o f S a n ctu a r y " (p. 24). B ib lio g r a p h ic a l fa c ts a r e tr e a te d on pp. 25, - 2 8 -2 9 ; in flu e n c e s on pp. 2 6 -2 7 ; and h is fin a l e v a lu a tio n on p . 27. G a r r e tt, "An E x a m in a tio n . . p . 124, n o te s th at R u n y a n 's b ib lio g r a p h y adds n o th in g to th at c o m p ile d b y R o b ert D a n ie l, A C a ta lo g u e of th e W r it in g s of W illia m F a u lk n e r (N ew H aven, 1 9 4 2 ). 160 g if t e d a m a t e u r ," w h o s e e m s " p r e c o c io u s , p e c u lia r ly e n o u g h , r a t h e r th a n o a c c o m p lis h e d ," b u t a d m its th a t " T h e r e a r e g le a m s ." E d a L o u W a lto n , w r it in g fo r th e N ew Y o r k H e r a ld T r ib u n e B o o k s , n o te d th e b r e a d th of th e p o e m s a n d p r a i s e d th e v o lu m e in t h e s e w o r d s : If W illia m F a u lk n e r h a d n o t b e e n i n t e r e s t e d in b e c o m in g a n im p o r - ta n t n o v e lis t a n d s h o r t s t o r y w r i t e r , it s e e m s m o s t p r o b a b le th a t h e w o u ld h o ld r a n k a s on e o f th e b e t t e r of th e m in o r p o e t s o f t h is p e r i o d .10 P e t e r M o n r o J a c k in th e N e w Y o r k T im e s B o o k R e v ie w e x p r e s s e d p le a s a n t s u r p r is e w ith th e w o r k an d r e f e r r e d to it a s "a b o o k o f m o s t e x c it in g p o e t r y ," d e s p it e i t s " la c k o f o r i g i n a l i t y ." 11 T h e r e v ie w e r w r i t in g in th e N a tio n , h o w e v e r , f e l t th a t F a u lk n e r , a lth o u g h h e h a d d e b ts of te c h n iq u e to v a r io u s w r i t e r s , h a d d e v e lo p e d a s t y le o f h is ow n . E la b o r a tin g on th e c o n c e p t o f th e p o e t 's o r ig in a lit y , th e N a tio n r e v ie w e r o b s e r v e d th a t th e p o e m s a r e b o th R o m a n tic an d m o d e r n , and th a t th e y a r e " n e v e r c o m m o n p la c e " a lth o u g h " T h e y s in g o f lo v e , of b e a u ty , o f l o s s , o f 12 th e r a th e r t y p ic a l p o e t ic s u b j e c t s ." F in a lly , M o r r is U. S c h a p p e s , r e v ie w in g th e v o lu m e f o r P o e t r y , in d ic a t e d a s tr o n g s o c i a l b ia s in s ta tin g th a t F a u lk n e r d id n o t go b e h in d "the d r a m a t ic f o r c e s a t w o rk " in th e S o u th . T h e p o e m s " a r e n o t th e l y r i c d e f in it io n o f th e r e la t io n o f a n in t e g r a t e d p e r s o n a lit y w ith th e w o r ld a b o u t h im b u t m e r e e m o tio n a l 13 p o s e s ." E v e n s o , " th e r e a r e g o o d (b u t o fte n b o r r o w e d ) r h y th m s , s o m e 9 S a tu r d a y R e v ie w o f L it e r a t u r e , 9 :5 6 5 , A p r il 2 9 , 1 9 3 3 . 1 0 N e w Y o r k H e r a ld T r ib u n e B o o k s , A p r il 3 0 , 1 9 3 3 , p. 2 . 11 N e w Y o r k T im e s B o o k R e v ie w , 8 2 :2 , M a y 1 4 , 1 9 3 3 . 1 ^ A n on . r e v ., 1 3 6 :5 6 5 , M a y 1 7 , 1 9 3 3 . 1 3 ,'F a u lk n e r a s P o e t ," 4 3 : 4 9 - 5 0 , O c to b e r 1 9 3 3 . 161 f e lic it o u s im a g e s , a w e ll-tu r n e d s o n n e t or tw o , and a n u m b er of r e s o nan t lin e s . . . (S ch a p p es, pp. 5 1 - 5 2 ) . The o u tlin e w h ic h fo llo w s w i l l in d ic a te in a g e n e r a l w a y th e v a r ie t y o f lit e r a r y tr a d itio n s upon w h ic h F a u lk n e r r e lie d in w r itin g th e p o e m s of a G r e e n B o u g h . W h e r e v e r is o la te d im a g e s o r m e r e p o r tio n s of th e in d iv id u a l p o e m , ra th e r th a n it s p r e v a ilin g a tm o sp h e r e o r d o m i n a tin g to n e, in d ic a te it s grou p in g, I h a v e t r ie d to s p e c if y in p a r e n th e s e s r e a s o n s fo r th e p o e m 's p la c e m e n t w h ic h m ig h t not o th e r w is e be im m e d ia te ly c le a r . A s a r e s u lt of the p la c e m e n t o f a p oem b a s e d on it s p a r t ia l fe a tu r e s , r a th e r th a n on on ly p r e d o m in a tin g fe a tu r e s , o v e r la p p in g s of lit e r a r y tr a d itio n s o c c u r . O u tlin e of L it e r a r y T r a d itio n s in F a u lk n er ’ s G reen B ou gh 1. R o m a n tic s : I (n a tu re im a g e s , p p . 8-9); II ("gold" im a g e s , p . 12); III (m e d ie v a l r e f e r e n c e s , p. 16, p a s t o r a l e le m e n t s , p. 18); VII (p a sto r a l ; and n a tu re e le m e n t s , pp. 2 5 -2 6 ); VIII; IX; X; XVIII; X X (n atu re im a g e s , p. 42); X X I (m e d ie v a l r e f e r e n c e s ) ; X X II (to p ic s of lo v e and m e m o r y e x p r e s s e d in nature im a g e s , p. 4 4 ); XXIII (n atu re im a g e s , c o lo r , p. 45); XXIV ("nam e lik e m u ted s i l v e r b e lls ," p . 46); X X V II (" P h ilo m e l" a llu s io n , p. 49); X X X (nature im a g e s , p . 53); XXXIII; X L II (m e d ie v a l, n a tu r e im a g e s , p . 65); X L IV (ea rth im a g e s , p . 67). T O TA L: 18 p o e m s 2. F r e n c h S y m b o lis t s : II (" P la y in g a m u s ic o f lu s tr o u s s ile n t g o ld . / B ath ed in g o ld sh e s it s ," p. 12; "R ain a s s lo w a s s ta r lig h t on h e r b r e a s t," p . 14); III (" s ilv e r s p e a r s of s tr e a m in g b u rn in g h a ir ," p. 16;! " b r e a st . . . h a rp ed o f s ilv e r ," p . 17; " su c k in g s ilv e r sound," p . 19); ; VII (" tru m p e ts of s u n ," p. 25); X (fourth sta n z a , p. 30); XII (" life . . .; ta u t as s i l v e r w ir e ," p. 32); X IV ("h u shed and h au gh ty s ta r lig h t / To j str o k e h is g o ld e n h a ir ," p. 34); XIX; XX (" le a v e s o f s ile n c e ," p . 42); ; X X II (" c lo th e d in q u ie t sound," p . 44); X X III ("wane th e w in d le s s j | g a r d e n s o f th e b lu e; / . . . a l o s t g r ee n h u r t," p. 45); X X V ( f ir s t lin e j s u g g e s ts M a lla r m ^ ’ s " L 'A p res M id i D 'un F au n e," p . 47); XXVII; XXVIII (" m o o n s of c o ld ," p. 51); XXXIV (" so ft d o v e s lip p e r e d e y e s ," j p . 57); XLI; XLIII; X L IV ( " s ilv e r g r ie f . . . g r ee n w o o d s be d r e a m in g ," p. 6 7 ). TOTAL: 17 poems 162 I 3. 'C o n v e n t io n a l1 1 v e r s e f o r m s : a. E liz a b e th a n f o r m s : X V I (im a g e s and p a r a p h r a s e , M a c b e th , H a m le t , p. 37); X X I (p a r a p h r a s e , M a cb eth , s ta n z a 3, p. 43); XXXIV; XXXV; X X X V I; XXXVH ; XXXVIII; X XXIX; XL; XLI; XLII; X L III (in it s m o d ifie d fo r m o n ly ). T h e la s t te n p o e m s l is t e d a r e m o d i f ie d I ta lia n so n n e t f o r m s . T O T A L : 12 p o e m s b. H o u sm a n e sq u e f o r m s : VI; XI; XII; XIII; XIV; XV; X X X I T O T A L : 7 p o e m s c . F o lk b a lla d : X IV T O T A L : 1 p o em d. M is c e lla n e o u s c o n v e n tio n a l f o r m s : XXIX; V; X L IV T O T A L : 3 p o e m s 4 . M o d e r n s, s u c h a s C u m m in g s, E lio t, J o y c e , R o b in so n , Y e a t s : I; II; H I (o r ig in a l im a g e s ); IV; XVII; XVHI; X X II (im a g e s ); X X III (im a g e s ); X X V I (c o in a g e s ); X X X II. T O T A L : 10 p o e m s The p u r p o s e s of th is o u tlin e a r e , o f c o u r s e , g e n e r a l r a th e r th a n s p e c if ic and a r e m e a n t b r o a d ly to in d ic a te th e lit e r a r y tr a d itio n s of F a u lk n e r 's G r e e n B ough p o e m s r a th e r th a n to c la s s if y th em in to m u tu - ; a lly e x c lu s iv e c a t e g o r ie s . F r e q u e n tly , F a u lk n e r fin d s o r ig in a lit y of d e v ic e , im a g e r y , and e f f e c t w ith in c o n v e n tio n a l f o r m s , a s th e m a n y e x a m p le s o f o v e r la p p in g c l a s s if i c a t i o n s in d ic a te . M o r e o v e r , th e v o lu m e c o n ta in s o b v io u s ly e x p e r im e n ta l p a s s a g e s th ro u g h o u t it s p a g e s . T o i l lu s t r a t e , a g h o s tly w o m a n w a lk s " m u s ic fle s h e d " (III, p . 17); a s e n tin e l is " m o o n w a sh ed " (p. 19). P o e m IV c o n ta in s a n u m b er of r u n -to g e th e r w o r d s , e .g ., " n e u fc e n tv in g ts o m e th in g o r o th e r " (p. 2 0 ), and s u c h odd ju x - j t a p o s it io n s a s " w h ite u n su b tle th ig h s" (p. 2 1 ). Out of th e b o s k y n a tu re I of p o e m VIII, "a sp u r tin g y e llo w / R ab b it b u r s t s , it s f la s h in g s c u t / M u s c le d in e r r a t ic lin e s / Of fr ig h t fr o m fu r r o w h ill to rut" (p. 2 7 ). T h e Vday la y s ta r k w ith la b o r " (p. 30) i s a n a tu r e d e s c r ip t io n of p o e m X. 163 "Y oung b r e a s t s " a r e " h o llo w ed out w ith fir e " (p. 31) in p o e m X I. The e v e n in g i s d e s c r ib e d "w ith a s ilv e r s ta r lik e a r o s e in a b ow l o f l a c q u er" (p. 38) in p o e m XV I. T he c o in e d n e g a tiv e s o f " u n p ro b es," "un b len d ," and "undrow n" (p. 48) a p p ea r in p o e m X X V I. S p rin g is " so u th - flow n " {X XX , p. 53); " a b e la r d e v a p o r a te s " w h ile " p a r is / t a s t e s h is b it te r th u m b s" (XXXII, p. 55); and M a ry h a s " so ft d o v e s lip p e r e d e y e s " (X X X IV , p. 57). In a n sw e r to R u n y a n 's d is a p p r o v a l o f F a u lk n e r 's p o e tr y a s " a l m o s t w h o lly d e r iv a tiv e " and a s " im m a tu r e r o m a n tic is m " (pp. 2 4 , 27), G a r r e tt p o in ts out th a t o n ly e ig h t of th e fo r ty -f o u r p o e m s s e r v e a s a b a s is fo r su c h c o m p la in ts: th e s e a r e I (E lio t); II (E lio t's " P o r tr a it of a .Lady"); X X V II (E lio t 's " S w een ey am on g th e N ig h tin g a le s" ); X V (H o u s- m an ); and fo u r p o e m s w h ic h s u g g e s t C u m m in g s "in th e a b s e n c e of c a p i t a ls a t le a s t ." H o w e v e r , G a r r e tt fu r th e r q u a lifie s th is o b s e r v a tio n w ith th e s ta te m e n t th a t F a u lk n e r m a d e "no a tte m p t to d is g u is e a llu s io n s to th e w o r k o f o th er p o e ts ," and th at d is tin c t im ita tio n is e v id e n t o n ly in i " s u p e r fic ia l a s p e c t s " (p. 1 3 3 ). M y ow n r e a c tio n to F a u lk n e r 's in flu e n c e s , be th e y p ro fo u n d or s u p e r f ic ia l, c a n be in d ic a te d by th e fo llo w in g ch a rt: C hart of In d iv id u a l In flu e n c e s in a G r e e n Bough 1. B row n in g: IX (T h e fin a l lin e s u g g e s ts th e c o n c lu s io n of B row n in g' sj " L o v e a m o n g th e R u in s," p. 29); X (T he f i r s t tw o sta n z a s fa in tly e c h o B r o w n in g 's " P a rtin g at M o rn in g ," p. 30). i i 2. C u m m in g s: IV; XVII; XXXII; X L III (A ll e m p h a s iz e lo w e r c a s e ) . j ; 3. de la M a r e : X X V ("T he m oon " . . . " trod w ith s ilv e r sh o o n ," p. 4 7 ,\ r e f le c t s th e b a s ic im a g e of " S ilv e r " ). j 4 . E lio t : I (T he p o e m d e p ic ts a te a p a r ty , e m p lo y s m y th o lo g y , and ; u s e s d e v ic e s w h ic h e c h o E lio t - - d ia lo g u e , r h y th m ic a l p a tte r n s , and in te n s e iro n y ); II (cf.. " P o r tr a it of a L ady"); V (N ote th e u s e of w a te r im a g e r y , dead le a v e s , and to n a l s im ila r it ie s to "The L o v e - so n g of J. A lfr e d P ru fro ck " and "The W a ste Land"); XVI (T he "I" of th e p o em , tir e d of p o stu r in g , c o n v e r s e s w ith a p h an tom c o m p a n io n , w ho, in th e la s t s ta n z a , u r g e s him to "drow n," a ro u g h ly su b s ta n tia l p a r a lle l to " L o v eso n g " ); XIX (T he drow nin g im a g e , " s e a m a id s red and brow n," of the s e c o n d sta n z a e c h o e s " L oveson g" ); and XXVII ("Sw eeney" i s su g g e ste d , c o m p le te w ith ra v en , n ig h tin g a le [P h ilo m e l], and d rop p in g o r d u r e ). 5. H o u sm a n : VI; XI; XII; XIII; XIV; XV; X X X I (T h ese p o e m s e c h o H o u sm an in fo r m , m a n n e r, and, to a l e s s e r ex ten t, su b sta n c e ). 6 . J o y c e : IV (s tr e a m of c o n s c io u s n e s s p a tte rn , p. 2 1 ). 7. K e a ts : X (T h e "urn" r e f e r e n c e , a s w e ll a s the th e m e , s u g g e s ts K ea ts' "Ode on a G r ec ia n U rn"). 8 . M a lla r m e : X X V (The f i r s t lin e s u g g e s ts M a lla r m e 's " A im a i-je un rS v e? " in " L f A p r e s -M id i d'un F au n e" ). 9. R o b in so n : X X X V II (T he L ilith r e f ., p. 60, fo r m , and th em e s u g g e s t "A nother D a rk L ady"). 10. S w in b u rn e: X V II (se n su o u s im a g e r y ); X X IV (se n su o u s im a g e r y r e la te d to d r e a m ). 11. V e r la in e : X L I (The o c ta v e of th e so n n et co n ta in s a r e f e r e n c e to "T he old s a ty r . . ." p . 64, r e m in is c e n t o f V e r la in e 's "Le F a u n e," b eg in n in g , "Un v ie u x fau ne de t e r r e c u it. . . ."). 12. Y e a t s : XXII (form and su b sta n ce s tr o n g ly s u g g e st Y ea ts' "A D eep - S w o rn Vow"). T h e se w r it e r s s e e m to be th e m a jo r id e n tifia b le in flu e n c e s op e r a tiv e in a G reen B ough. I am in c lin e d to a g r e e w ith G a rrett th a t F a u lk n er by and la r g e a b so r b e d h is in flu e n c e s , d o m in atin g th em w ith h is ow n in d iv id u a l sty le and im a g e s . The p o e m s show th a t F a u lk n er co n tin u ed to u s e R o m a n tic and F r e n c h S y m b o list d e v ic e s in h is w o r k , and add ed to th em v a r io u s m eth o d s of the e m e r g in g c o n te m p o r a r y p o ets e s p e c ia lly th o se o f E lio t and C u m m in g s. H o w ev er, th e s e s o u r c e s a r e, fo r the m o s t p a r t, su b m er g e d w ith in F a u lk n e r 's own m e th o d s. L e s s than h a lf of the fo r ty -fo u r p o e m s c o n ta in sig n ific a n t p a s s a g e s or oth er a ttr ib u te s w h ich co u ld be s a id to b e a r id e n tifia b le in flu e n c e s; and m an y 165 of t h e s e , a s I h a v e in d ic a te d , a r e m e r e ly s u p e r f ic ia l or s u g g e s t iv e .^ F a u lk n e r 's ow n d e v ic e s c a n be s e e n in so m e o f th e p o e m s w h ich illu s t r a t e a str o n g c o n tin u ity b e tw e e n a G r e e n B ough and h is e a r li e r w o rk , e s p e c ia lly th e M a rb le F a u n and M is s is s ip p ia n p o e m s . C e r ta in p h r a s e s r e a p p e a r , e .g ., " s ile n t a m ity " {I, p . 8 ) ca n b e tr a c e d b a c k to the M a rb le F a u n 1 s " so u n d le ss a m ity " (p. 1 6 ). Such im a g e s a s "a w h ite w a n to n n e a r a b reak " (I, p. 8 ) e c h o p r e v io u s , s im ila r o n es in th e M a rb le F a u n (p. 26) and th e M is s is s ip p ia n p o e m " N a ia d s' Son g." A lo c a le a m id w a te r , g la d e , and m o o n lig h t (II, p . 14) r e it e r a t e s th e d o m in a n t one of th e M a rb le F au n (c f. p . 2 6 ). T he im a g e o f p o p la r t r e e s (IV, p . 20) w ith it s fa m ilia r p e r s o n ific a tio n of g ir ls h a r k s b a ck to th e e a r li e r v o l u m e (p. 25) and to su c h M is s is s ip p ia n p o e m s as "A P o p la r ." T h e "inky sh a d o w s of a G r e e n B ou gh (V, p. 22) r e c a l l th e "inky t r e e s " of th e M a r b le F a u n (p. 31), a s do th e s im ila r c o n c e p tio n s of D ea th a s a b o o n fo r m an: " m an in a m n e s ty m a y s le e p " (VII, p . 35) and in th e e a r lie r v o l u m e, th e " gift of s le e p to b e m y m o r r o w " (p. 49). B o th w o r k s p r e s e n t s im ila r im a g e s of b la c k b ir d s: "A b la c k b ir d w h is t le s , c o o l and m ello w " : (VIII, p. 27) and in th e M a rb le F a u n "the b la c k b ir d s' . . . th r o a ts / S p ill > th e ir lo n g c o o l m e llo w n o te s" (p. 21). T he p a s to r a l im a g e s of a G r ee n ; C o n tr a r y to W illia m R o se B e n e t (r e v . of a G r e e n B o u g h ) S a t- ; u r d a y R e v ie w of L ite r a t u r e , 9 :5 6 5 , A p r il 2 9 , 1933, w h o f e lt th a t F a u lk - ; h e r had not r e a lly a b so r b e d h is in f lu e n c e s , the r e v ie w e r w r itin g fo r j N a tio n , 1 3 6 :5 6 5 , M ay 17, 193 3 , b e lie v e d th a t F a u lk n er h ad " a s s im ila te d jse v e r a l s t y le s and fo r m e d one f a ir ly h is ow n." E d a L ou W alton , p r a is in g th e v o lu m e in N ew Y ork H e r a ld T rib u n e B o o k s, A p r il 30, 1 9 3 3 , p . 2,! |saw c o m p le x ity in F a u lk n e r 's e m p lo y m e n t of h is s o u r c e s : "T he f i r s t i p e r s o n sin g u la r of th e p o e m s is a m a n m u c h in flu e n c e d by m o d e r n th e - i lo ries of p s y c h o lo g y , a w a r e of th e c o n fu sio n in m o d e r n th in k in g , in flu - ; lenced, to s o m e d e g r e e , by o th er m o d e r n p o e ts . H e i s n ot u n lik e th e lo v e r in E . E . C u m m in g s's p o e tr y ; he a d o p ts so m e of th e s a m e a tt i tu d e s." l 66; B ough s e e m m o r e n a tu ra l and l e s s r e m o te th a n th o se of th e M a rb le F a u n : "he [a fa r m e r ] ca n / F u r r o w th e b row n e a r th . . . b r e a d h im w ith h is h a n d s and fe e t" (VIII, p . 28), w h ile the e a r li e r v o lu m e c o n ta in s o n ly g e n e r a lit ie s o f th e sa m e id e a , e x p r e s s e d in su c h fo r c e d in v e r s io n s a s , "Go th e sh e p h e r d s w ith th e ir flo c k s " (p. 2 2 ). T he m ir r o r im a g e s of a G r ee n B ough, th ou gh s im ila r to th o s e of th e M a rb le F a u n , in d ic a te a m e r c i l e s s s e l f - r e c o g n itio n , fo r e x a m p le : "Ho. . . . One g r o w s w e a r y , p o stu r in g and g r in n in g , apin g a d r e a m to a h o u se o f p e o p le shadow s'. A h, 'tw a s y ou w h o s tr ip p e d m e b a r e and s e t th e g ib b er in g a t m in e ow n fa c e in a m ir r o r ." {XVI, p. 37) P o e m X X X b e g in s , a s d o e s th e M a rb le F au n , w ith an im a g e of g r a y . The s p r in g is " sou th flow n " w ith " A p r il and M ay and Ju n e," and N o v e m b er a p p r o a c h e s; the e f f e c t is th a t o f an e x t r e m e ly c o n d e n se d e c lo g u e s im ila r to th e m a n n er o f th e M a rb le F a u n , a lth o u g h th e p u r p o se of th e d e v ic e in p o e m XXX is to e s t a b lis h a kin d of p r o lo g u e fo r th e r e tu r n o f : i a s o ld ie r . T he im a g e of th e r e a p e r in "C athay" ("who s o w s / The s e e d ; of F a m e m a k e s th e g r a in fo r D eath to reap " ) r e a p p e a r s in a G r ee n B ough a s "T he so w e r w h o f e a r s to so w and r e a p s no g ra in " (X X X IX, p. 62). T h e r e a r e th ir te e n p o e m s in a G reen B o u g h -- p e r h a p s m o r e - - w h ich illu s t r a t e o b v io u s r e la t io n s h ip s b e tw e e n th e v o lu m e and h is e a r - 15 l ie r p o e tic w o rk . A t le a s t e ig h t of th e p o e m s in a G reen B ough fo r m a n ex u s w ith F a u lk n e r 's e a r lie r p o e tr y th ro u g h th e r e p e titio n of th e fa m ilia r th e m e s I 15 In a d d itio n to th o s e m e n tio n e d in th is p a r a g r a p h , a ls o c o n s id e r III, X , X XX, XL.I, XLIV . 167: lfi of the p a s t and the a r t is t 's s tr u g g le to id e n tity . P o e m V e m p h a s iz e s i th e p a st w ith su ch im a g e s a s "inky sh a d o w s," " g r a v e ," " h ea d sto n e," and " m e m o r ie s th a t sw im b e tw e e n the w a lls / A nd dim the p e o p le d s t i l l n e s s of a ro o m ." H e r e , "no lig h t b r e a k s," "the sh ad o w s cro w d w ith in th e door / A nd w h is p e r in th e d e a d le a v e s a s th e y p a s s ," and h e r e , . . . th e r e is no b r e a s t to s t i l l in s tr ife Of jo y or s a d n e s s , n o r d o es a n y lif e F la m e t h e s e h ills and v a le s g ro w n sh a r p and c o ld A nd b a re o f sound. T he fin a l sta n z a r e la t e s the im a g e s of th e p a s t to w h at m a y s u g g e s t F a u lk n e r 's lo c a l reg io n : " th e se h ills and v a le s . . . ." S im ila r ly , p o em XXVIII e x p r e s s e s an a w a r e n e s s of a p a s t w h ich te n d s to d o m in a te th e p r e se n t: . . . the m o o n s of c o ld W hat do th e ir lo n e ly v o ic e s w ak e to r e m e m b e r In th is d u st e r e 'tw a s fle s h ? w h a t r e s t l e s s old ^ T h e r e a r e , of c o u r s e , m an y o th er th e m e s , often c o m p le x and ; o v e r la p p in g . To in d ic a te th e v a r ie t y of th e m e s in th e p o e tr y of a G r e e n ! B ough, I h a v e c a te g o r iz e d th e p o e m s a c c o r d in g to the fo llo w in g d iv i sio n s: L o v e : II, XI, XII, XIII, X V II, XIX, XXII, XXH I (s a tir e ), X X X V ( s a t ir e , r e g r e t), X X X V II (r e g r e t), XXXVIII, X L (T o ta l: 18 p o e m s); P a s s io n : II, VI, XI, XH, X IX , XXIV, XXXVI, X XXIX, X L I, X LH I (T otal: 10 p o e m s); D ea th : V, VI, VII, X, XV, X V I, XXV, XXXHI, XXXV, X XXIX, X L IV j iT o ta l: 11 p o e m s); N a tu r e : HI, VII, VIII, X V, XVH, XVIH, XXV, X X X , XXXVI, X LIV ; (T otal: 10 p o e m s); ■ F u tility or doom : VI, VII, X , XIV, X X V II (m is a llia n c e ), XXVHI, ! X XX, XX X I, X X X II (T otal: 9 p o e m s); j W ar an d a fte r m a th : I (w a s te ), IV (sa .tire), X X X (cf. S o ld ie r s ' P a y ), jXXXI (T o ta l: 4 p o e m s); j T r a d itio n a l r o m a n c e : HI, X IV , XXI (T otal: 3 p o e m s); R o m a n ce of th e a irm an : XVIII, X X V , XXVIH (T otal: 3 p o e m s); j R e lig io n : X X X IV , XLII (T o ta l: 2 p o e m s); P a s to r a l: VII, IX (T otal: 2 p o e m s). 168 D r ea m a th o u sa n d y e a r s w a s s a f e ly s le e p in g W a k es m y b lo o d to sh a r p u n e a s e . . . . T h e hand th a t sh a p ed m y b od y . . . M ade m e a s la v e to c la y fo r a fe e o f b r ea th . P a s t g lo r y fin d s fu lfillm e n t in th e p r e se n t: O v er th e w o r ld 's r im , out o f s o m e sp le n d id n oon , S e e k in g s o m e h ig h d e s ir e , and not in v a in , T h e y f i l l and em p ty th e r e d and dyin g m o o n A nd, c r y in g , c r o s s th e r im of th e w o r ld a g a in . T he " r e s t le s s old / D rea m " th a t h a s b e e n " sle e p in g " h a s b e e n r e a w a k en ed ; th e p o e t 's r e c o g n itio n of th e s e th in g s of a n tiq u ity is a c c o m p lis h e d w ith " sh a rp u n e a s e ." Y et, the f o r c e s of th e p a s t, p e r h a p s h is S o u th ern tr a d itio n and fo r e b e a r s ("T he h an d th a t sh a p ed m y body"), s e e m , p a r a d o x ic a lly , to h a v e g r a n te d h im lif e in o r d e r to s in g of the p a s t, to be "a s la v e to c la y ." T h is b e in g h is r a is o n d 'e t r e , h e a s p o e t c a n -- in d e e d , m u s t - - e n v is io n th e p a s t and, m o r e s p e c if ic a lly , th a t w h ic h is m o s t w o r th y of th e p a s t (" s o m e sp le n d id noon") w h ic h , th rou gh h im a s a k in d j of a m a n u e n s is , w ill in e v ita b ly fin d e x p r e s s io n o n c e m o r e (" c r y in g , c r o s s th e r im o f th e w o r ld a g a in " ). One ca n s e n s e in th e sta te d in e v i ta b ility o f th e r e tu r n o f th e p a s t and in th e c h o ic e of su ch w o r d s a s " cry in g " a k in d of i r r e s i s t i b l e p o e tic fe e lin g to w a r d F a u lk n e r 's su b ject,; a s if he w e r e at o n ce r e s ig n e d and c o m p e lle d . In p o e m X one fin d s a c lo s e a d a p ta tio n of a lin e fr o m F a u lk n e r 's p r o s e s k e tc h "T he H ill," w h ich a c o m p a r is o n w ill c le a r ly show : "T he H ill" " P o em X" H e r e in th e d u sk , n y m p h s and N ym ph and fau n in th is d u sk fa u n s m ig h t r io t to a s h r illin g of m ig h t r io t th in p ip e s , to a s h iv e r in g and B ey o n d a ll o c e a n e d T im e 's c o ld ; h is s in g o f c y m b a ls in a sh a rp g r e e n is h bar v o lc a n ic a b a s e m e n t b e n e a th a t a ll To s h r illin g p ip e s , to c y m b a ls' ; h is s in g 169 1 1 T he H ill1 1 " P o e m X" ic y s t a r . B en ea th a s in g le ic y s ta r ( it a lic s added) ( it a lic s added) 17 The th e m e s , to o , c o in c id e . J u s t a s th e p r o ta g o n ist of "T he H ill" is cau gh t b e tw e e n tw o h o r iz o n s (" F o r a w h ile he sto o d on one h o r iz o n and s ta r e d a c r o s s a t th e o th e r . . . ." ), s o is th e p r o ta g o n is t o f th is p o em : W h ere h e , to h is ow n c o m p u lsio n - - A t e r r if ic fig u r e on an u rn Is ca u g h t b e tw e e n h is tw o h o r iz o n s , F o r g e ttin g th a t he ca n t [ s i c ] r e tu r n . O ther a s p e c t s of th e tw o w o r k s a ls o c o in c id e , s tr o n g ly s u g g e s tin g th at th e p o e m m a y b e a kind o f ly r ic a l p a r a p h r a se of th e e a r li e r p r o s e 18 s k e tc h . The s ta n z a a b o v e in d ic a te s th e s a m e s o r t of te n d e n c y on F a u lk n e r 's p a r t to id e n tify w ith th e p a s t, w h ile at the s a m e tim e s tr u g g lin g to fin d h is ow n id e n tity in th e p r e s e n t . I h a v e a tte m p te d to i l l u s tr a te in d e ta il th e r a tio n a le of th is te n d e n c y in "T he H ill" (C h ap ter V) and e a r lie r in " N o ctu rn e," " C ath ay," and th e M a rb le F a u n . T he im a g e is c h a r a c t e r iz e d by th e sa m e s e n s e of t e n s io n b e tw e e n p a s t and p r e s e n t w h ic h I h a v e a lr e a d y d is c u s s e d . A g a in , th e p o te n c y of th e s e a n tip o d a l f o r c e s is su ch a s to r e n d e r th e c e n tr a l fig u r e s ta tic , a s fix e d a s a ^ F o r a n a n a ly s is of th e th e m e o f "T he H ill," s e e Ch. V. *®Cf. th e p o e m 's " B eh in d h im d a y la y sta r k w ith la b o r / Of h im : w h o s t r iv e s w ith e a r th fo r b read ; / B e fo r e h im s le e p , to m o r r o w h is j c ir c lin g / S in is te r sh a d o w about h is h e a d / " w ith th e v ig n e t t e 's "B ehindj h im w a s a d ay of h a r s h la b o r w ith h is h a n d s, a s tr ife a g a in s t th e f o r c e s j of n a tu r e to g a in b r e a d and c lo th in g and a p la c e to s le e p ." B oth p ie c e s j iise sh a d o w s, s u g g e s tin g so m e th in g " s in is te r " in th e p o e m , so m e th in g of ['p orten t" in th e sk e tc h . The p o e m h o w e v e r , u n lik e th e s k e tc h , s p e c if ie s jw o in t e r e s t in g p h r a s e s w h ich m a y p o s s ib ly h a v e p s y c h o lo g ic a l and a u - j to b io g r a p h ic a l in n u en d o s, " F o r g o tte n h is fa th e r , D eath; D e r is io n / H is m o th e r , fo r g o tte n by h e r at la s t." 170 19 " fig u re o n an urn." S im ila r ly , o th e r p o e m s r e p e a t th is b y now f a m ilia r im a g e of c a ta le p tic te n sio n in d iffe r e n t te r m s : p o e m XX p la c e s th e p r o ta g o n ist " B e tw e e n tw o w a lls o f g ra y and t o p le s s s to n e , / B e tw e e n tw o w a lls w ith s ile n c e on th em gro w n " (p. 42); and p o e m X X V I d e s c r ib e s a lo v e d one, p e r h a p s, a s b ein g "w ith d raw n " an d " su n d e r e d b y a te n s e / L ik e th is : Is: W as: and N ot. N o r cau gh t b e tw e e n / S p en t b e a c h e s and th e a n n e a le d in s a tia te s e a . . ." (p. 4 8 ). F in a lly , th r e e oth er p o e m s a re in t e r e s t in g c o m m e n ta r ie s on j F a u lk n e r 's co n tin u in g str u g g le to id e n tity . P o e m XVIII, d e a lin g w ith a b o y 's d r e a m s of f ly in g , p r o b a b ly in s p ir e d b y F a u lk n e r ’ s y o u th fu l h ab it of w a tc h in g flig h ts o f haw ks o r e a g le s fr o m a h il l o u tsid e O x fo rd , h as j a lr e a d y b e e n c o m m e n te d upon a t th e en d o f C h a p ter II. P o e m X V I is a ■ w o rk w h ic h a p p ea r s to r e v e a l F a u lk n e r 's d is s a t is f a c t io n w ith h is own p r e s e n t co n d itio n in th e w o r ld o f O xford, and, m o r e s p e c if ic a lly , w ith h im s e lf a s a p o s e u r . The p o e m is a d ia lo g u e b e tw e e n a f ir s t - p e r s o n c e n tr a lity and an " o ld s p e c t r e ," p e r h a p s D eath or F a te . T he p r o ta g o n is t s p e a k s fir s t: ^ F a u lk n e r 's lin e h a s o b v io u s a s s o c ia t io n s w ith K ea ts' "Ode on i a G r e c ia n U rn," b u t s o d o es th e p o em a s a w h o le . K e a ts, to o , em ployed ! f'p ip es a n d tim b r e ls " and " so ft p ip e s ." K ea ts' s e c o n d s ta n z a a ls o p o s - I s e s s e s a s im ila r te n s io n , a s o f a lo v e r ca u g h t in a tr a n c e and su sp e n d e d in t im e . T he fo u rth sta n z a m e n tio n s a " little tow n" w ith s ile n t s tr e e ts : ! "and n o t a sou l, to t e l l / W hy th o u a rt d e s o la t e , c a n e 'e r r e tu r n ." | F a u lk n e r p ro b a b ly h a d lit tle d iffic u lty id e n tify in g h im s e lf and h is own m ilie u w ith the im a g e s and su b s ta n c e o f th is m a s t e r p ie c e . W h en in t e r - j y ie w e d b y Jean S te in , N ew Y o rk C ity, 1 9 5 6 , pub. in W r ite r s a t W ork: th e P a r is R e v ie w I n te r v ie w s , ed . M a lc o lm C o w le y (N ew Y ork, 1 9 5 9 ), p. 1 2 4 ,j he p a id th e u ltim a te trib u te to K ea ts' p o em : "If a w r it e r h a s to rob h is ! m o th e r , h e w ill n o t h e s ita te ; th e 'O de on a G r e c ia n U rn' is w o r th any n u m b er o f old la d ie s ." ["] B eh o ld m e , in m y fe a th e r e d ca p and d ou blet, str u ttin g a c r o s s th is sta g e th a t m e n c a ll liv in g : th e m ir r o r of a ll you th and h op e and s tr iv in g . E v e n you, in m e , b e c o m e a g r im a c e ." (p. 37) The " old sp e c tr e " r e p lie s th at th e f ir s t s p e a k e r 's p o s itio n i s one of h e lp le s s m o r ta lity ; but e v e n so , th e p r o ta g o n ist c o n tin u es to sp e a k to h is a n ta g o n ist w ith la u g h te r , sc o ffin g , and b r a g g a d o c io . The s p e c tr e is u n p ertu rb ed and a lw a y s h a s an a n sw er : " d a r k n e ss," he s a y s p a r a d o x i c a lly , o u tliv e s a ll. The h u m an h e r o a ttem p ts to s c o ff on ce a g a in , but the la u g h te r fa d e s on h is lip s: "Ho. . . . One g ro w s w e a r y , p o stu r in g and grin n in g , apin g a d rea m to a h o u se of p e o p le d shadow s'. Ah, 'tw a s y o u w h o str ip p e d m e b a re and s e t m e g ib b erin g at m in e own fa c e in a m ir r o r ." (p. 37) The s p e c tr e th en a n s w e r s ag a in , sa y in g th a t he w ill be w a itin g "w ith sle e p " a fter " you have p la y e d y o u r p la y and at la s t a r e q u iet .. . " (p. 38). If one m a y a s s u m e fo r a m o m en t th a t the sp e a k e r of th e p oem r e la t e s c lo s e ly to F a u lk n er h im s e lf, th en it s e e m s to be c le a r th at F a u lk n er w a s tir in g of h is " p ostu rin g" in O xford. He la te r a ck n o w l ed g e d th at h e w a s a p o s e u r , a d m ittin g th at h e r ea d and w r o te v e r s e "to c o m p le te a you th fu l g e s tu r e I w a s th en m a k in g , of b ein g 'd iffe r e n t' in a 20 s m a ll tow n." I have m e n tio n e d o th er a s p e c t s of h is r e b e llio n as "C ount N o'cou n t" of r u r a l O xford in C h ap ter IV, a ttem p tin g to r e la te th o se a s p e c ts a s e x te r n a liz a tio n s of h is str u g g le to id e n tity . In th is po-! em F a u lk n er w a s p o s s ib ly m a k in g a ly r ic a l a ck n o w led g m en t of h is : i ^ I n " V e r se O ld and N a scen t: A P ilg r im a g e ," S a lm agu n d i (M il w a u k ee, 1932), p . 35. O r ig in a lly p u b lish e d in D ouble D e a le r , 4 3 :1 2 9 - 131, A p r il 1925. 172 o ste n ta tio n , of h is "aping a d r e a m " to h is fe llo w to w n sm e n , th e d r e a m , p e r h a p s, o f b e in g a p o e t. In p o e m XVI o n e fin d s a n in t e r e s t in g p a r a lle l 21 to w h at p s y c h o lo g is t s te r m " p la y d isru p tio n " and " p la y sa tia tio n ," t e r m s w h ic h a p p ly p r im a r ily to c h ild r e n r a th e r th an to a d u lts. Of c o u r s e , th e d iffe r e n c e b e tw e e n c a th a r s is and p la y , and the w r itin g of an a r t w o rk is th e c r it ic a l fa c u lt y in v o lv ed in s e le c t io n and r e v is io n . C on s e q u e n tly , su c h c o m p a r is o n s a r e at b e s t o n ly s u g g e s tiv e . E v e n so , to p u r su e th e p o in t m a y p rove illu m in a tin g . In " play sa tia tio n " th e ch ild o fte n " e m e r g e s r e f r e s h e d a s a s le e p e r fr o m a d r e a m le s s s le e p " (E r ik - so n , pp. 1 9 6 , 194), fo r the p la y in g out o f a n x ie tie s ca n s o m e tim e s p r o - 22 d u ce c u r a tiv e tr a n s fe r e n c e . The r e la tio n s h ip o f " p lay sa tia tio n " to F a u lk n e r 's p o e m , ten u o u s th o u g h it m a y b e , l i e s in th e v e r y c r e a tiv e p r o c e s s i t s e l f , th e tr a n sm u tin g of th e a r t is t 's e x p e r ie n c e , w h e th e r it be 23 c o n s c io u s o r u n c o n sc io u s , in t o a r tis tic fo r m ; th u s , the a r t is t ic e x p r e s s io n , in th is c a s e the p o e m it s e lf , m a y h ave b e e n p s y c h o lo g ic a lly a | k in d of c u r a tiv e t r a n s f e r e n c e . The p h en o m en o n o f t r a n s fe r e n c e in th e c h ild w ho p la y s s u g g e s ts c e r t a in in fa n tile a s s o c ia t io n s w ith youn g F a u lk n er th e p o s e u r , i.e ., th e im m a tu r ity of the v e r y " p o stu rin g " o v e r w h ic h "O ne g r o w s w eary" ; a n d the w o r k in g out o f th a t a n x ie ty , w h e th e r ; 21 E r ik H. E r ik so n d e a ls w ith t h e s e te r m s in C h ild h ood and S o c i e ty {N ew Y o rk , 1 9 5 0 ), pp. 1 9 4 -2 0 5 . 27 l F o r an e x a m p le of h o w a c h ild ca n a c c o m p lis h t h is , note E r ik -' s o n 's illu s t r a t io n o f M a ry 's " fa th er t r a n s f e r e n c e ," pp. 2 0 2 -2 0 5 . 1 23 • ' I h a v e a lr e a d y d is c u s s e d th is c o n c e p t in r e la tio n to F a u lk n e r 's s e a r c h fo r id e n tity in h is w a r e x p e r ie n c e s and in v e n tio n s abou t th em , I |Ch. III. A ls o s e e D a n iel E . S c h n e id e r , "T he P r o b le m of P s y c h ic E c o n o -1 m y ," T he P s y c h o a n a ly s t and th e A r tis t {N ew Y ork , 1954), p p . 8 3 -8 4 . 173 th ro u g h th e c r e a t iv e g a m e of a c h ild or th e tr a n s m u tiv e c o g n itio n o f th e a r t is t , in d ic a t e s th e p o w e r of th e h u m a n e g o in b oth c h ild an d m a n . F a u lk n e r a s a n e m e r g in g ad u lt s a w th e fu t ilit y o f h is p r e t e n s e in O x fo r d , a n d - - a s a d u lts w i l l do, r a th e r th a n c h ild r e n - - v e r b a liz e d h is t r a n s f e r e n c e . A s a r t is t , th e v e r b a liz a t io n to o k th e u n iq u e fo r m of p o e t r y . T he p o e m it s e l f , th e n , m a y p o s s ib ly be s a id to r e p r e s e n t h is d i s s a t is f a c t io n w ith h is u n f r u it f u l- - in d e e d , h is d e c e p t iv e - - p o s it io n in O x fo r d . P o e m XJLIV, o r ig in a lly p u b lis h e d u n d er th e t it le "M y E p itap h " a n d th en a s " T h is E a rth " and "If T h e r e B e G r i e f , i s th e c lo s in g p ie c e of a G r e e n B o u g h : If th e r e be g r ie f , th e n le t it b e b u t r a in , A n d th is b u t s ilv e r g r ie f fo r g r ie v in g 1 s sa k e , If t h e s e g r e e n w o o d s b e d r e a m in g h e r e to w a k e W ith in m y h e a r t, if I sh o u ld r o u s e a g a in . B ut I s h a ll s le e p , fo r w h e r e is a n y d ea th W h ile in t h e s e b lu e h i l l s s lu m b r o u s o v e r h e a d P m r o o te d lik e a t r e e ? T hough I be d ead , T h is e a r th th a t h o ld s m e f a s t w ill fin d m e b r e a th . (p. 67) T h e p o e m r e la t e s to th e p o e t's s e a r c h fo r id e n tity and o f f e r s a p r o j e c t e d r e s o lu t io n w h ic h i s s t r ik in g ly p r o p h e tic : h e w ill m a k e h is h o m e in " th e se g r e e n w o o d s " and " th e s e b lu e h ills " of M is s is s ip p i, w h e r e h e i s " r o o te d lik e a tr e e " ; th e u n io n o f m a n and p la c e s e e m s , b y im p lic a tio n s of d e e p d e v o tio n , to e n c o m p a s s lif e a s w e ll a s to tr a n s c e n d ^ P u b . o r ig in a lly a s "M y E p ita p h ," C o n te m p o , 1:2, F e b r u a r y 1, 1 9 3 2 . It w a s a ls o k n ow n a s T h is E a r th (N ew Y ork , 1 9 3 2 ). M e r iw e th e r , ; L it e r a r y C a r e e r of W illia m F a u lk n e r , p . 2 4 , n o te s th a t t h e s e v e r s io n s pf th e p o e m an d th e one in a G r e e n B ou gh " d iffe r s lig h tly ." F in a lly , th e p o e m w a s r e p r in te d in M is s i s s i p p i V e r s e , e d . A lic e J a m e s (C h a p el H ill, 1 9 3 4 ) a s "If T h e r e B e G r ie f," a lo n g w ith s ix o th er G r e e n B ough p o e m s , ; p p . 3 1 -3 5 . 174 25 d e a th . B u t w ith o u t th e r e t r o s p e c t io n w h ic h c o m e s fr o m a k n o w le d g e o f F a u lk n e r 's l i f e p a tte r n , th e t h e m a t ic n e x u s b e tw e e n p o e m X V I (" B e h o ld m e , in m y f e a t h e r e d ca p and d o u b let" ) an d th is c o n c lu d in g p ie c e m a y s e e m a t f i r s t d if f ic u lt to e s t a b lis h : in p o e m X V I th e p o e t s e e m s b it t e r ly d i s s a t i s f i e d w ith h is p o s it io n in n o r th e r n M i s s i s s i p p i , w h e r e a s in p o e m X L IV h e a p p e a r s to b e d e e p ly s a t is f ie d w ith it. T he d if f e r e n c e o f f e e lin g an d to n e in th e tw o p o e m s l i e s n o t s o m u c h in th e p o e t 's e m o - 2 6 t io n a l a ttitu d e to w a r d h is h o m e , I b e lie v e , fo r h e a lw a y s lo v e d it, a s in a d e v e lo p in g a r t i s t i c c o n c e p tio n to w a r d O x fo rd , n o r th e r n M i s s i s s i p p i , a n d , in a la r g e r s e n s e , th e w h o le t r a d it io n o f th e S ou th an d th e v a r io u s c o m p le x r e la t io n s h ip s o f th a t tr a d it io n to th e u n iv e r s a l l e v e l s of h u m a n 25 G a r r e tt, "A n E x a m in a tio n o f th e P o e t r y o f W illia m F a u lk n e r ," p . 1 3 4 , n o te s th e r e g io n a l th e m e in t h e s e w o r d s : " T h e f in a l p o e m . . . s ig n if ic a n t ly c l o s e s F a u lk n e r ’s c a r e e r a s p o e t on a n o te o f su b d u ed t r a n q u illit y [ s i c ] an d a r e t u r n to r o o ts in th e e a r th h e h a s c h o s e n n ot o n ly to c e le b r a t e , b u t a s h is h o m e ." 7 f* ^ S o m e tim e s F a u lk n e r 's a ttitu d e to w a r d O x fo rd an d th e South s e e m s a m b iv a le n t. M a lc o lm C o w le y , " In tr o d u c tio n to T h e P o r ta b le F a u lk n e r ," p u b . in W illia m F a u lk n e r : T h r e e D e c a d e s o f C r i t i c i s m , e d s . F r e d e r ic k J . H o ffm a n a n d O lg a W . V ic k e r y (M ic h ig a n S ta te U n iv e r s it y , I 9 6 0 ) , p. 1 0 2 , s a y s th a t F a u lk n e r w a s s p e a k in g fo r h i m s e l f a s w e ll as Q u e n tin w h e n h e h a s th e n a r r a to r o f A b s a lo m , A b s a lo m ! r e p ly to S h r e v e M c C a n n o n 's q u e s tio n "W hy do y o u h a te th e S ou th ?" w ith a n im m e d ia te , MI d o n t h a te it," and th in k s p a n tin g in th e c o ld a ir , "I d o n t. I d on t h a te it'. I dont h a te it'." U n d o u b ted ly F a u lk n e r d is lik e d c e r t a in a s p e c t s of th e S o u th , su c h a s th o s e h e n o te d in h is s k e tc h " T h e H ill," th e " w h ip p ed v a n it ie s . . . lu s t s . . . th e d r y in g s p it t le o f r e lig io u s c o n tr o v e r s y " ; bu t ; t h e s e a r e u n iv e r s a l a s w e l l a s r e g io n a l f a u lt s . F a u lk n e r 's f e e lin g t o w a r d th e S o u th w a s c o m p le x , e v e n e a r ly in h is d e v e lo p m e n t, a s I h a v e t r i e d to in d ic a te w ith a n e x p lic a t io n of " C ath ay" in C h. IV; b u t h is d e e p ; d e v o tio n to w a r d th e r e g io n is e v id e n t in s u c h w o r k s a s p o e m X L IV in a [G reen B o u g h . P h il S to n e , " W illia m F a u lk n e r , th e M an a n d H is W ork ," T h e O xford M a g a z in e , V o l. 1, N o. 3 (1 9 3 4 ), p p . 4 - 5 , r e p e a t s th e s t a t e m e n t th a t F a u lk n e r " lo v e s O x fo rd an d it s s u r r o u n d in g c o u n tr y d e a r ly , p r e f e r s th e m a b o v e a ll o th e r s in th e w o r ld ." A g a in , S to n e r e c a l l s th a t a f t e r th e p u b lic a tio n o f S a n c tu a r y F a u lk n e r w r o te h im fr o m N e w Y o rk s a y in g th a t h e " fe lt s o r r y fo r a ll t h e s e m il lio n s of p e o p le h e r e b e c a u s e t h e y d o n 't l i v e in O xfo rd " (p. 7). 175 e x is t e n c e . T h a t is to s a y , in p o e m X V I su c h an a r t is t ic sc o p e or W e lt- a n sch a u u n g i s a lto g e th e r la c k in g , a s th ou gh y e t u n d isc o v e r e d ; but in p o em X L IV th at a r t is t ic c o n c e p tio n is e ith e r c o n s c io u s ly o r u n c o n s c io u s ly p r e s e n t .27 A t an y r a te , it w a s to b e a fe w m o r e y e a r s b e fo r e F a u lk n er c o u ld fin d th e k in d of r e s t in th is e a r th of h is S o u th ern h o m ela n d w h ic h r e s u lt e d fr o m u n c o n s c io u s , e m o tio n a l a ffin ity o n th e one hand, and c o g n itiv e a r t is t ic c o n c e p tio n on th e o th e r . In e a r ly 1925, h e had y e t to le a r n th a t h e c o u ld fin d a r t is t ic f u lfillm e n t in th e v e r y m id s t of the South he had t r ie d to e s c a p e in v a r io u s w a y s: th ro u g h th e w a r e x p e r i- ? Q e n c e , h is o u tla n d ish d r e s s and o u tre b e h a v io r , th e tr ip to N ew Y o rk , j and th e o s te n ta tio u s c le v e r n e s s of h is r e v ie w s and a r t ic le s in h is M is - s is s ip p ia n c o lu m n , " B ook s and T h in g s." T r u e , he h ad e x p r e s s e d a c r i t ic a l r e c o g n itio n o f th e im p o r ta n c e o f lo c a l c o lo r in s e v e r a l of th e s e 2 7 T he a n s w e r to th e q u e stio n of w h e th e r th e a r t is t ic c o n c e p tio n j to w a r d h is r e g io n w a s c o n s c io u s ly or u n c o n s c io u s ly p r e s e n t m a y be an im p o rta n t on e in d a tin g th e p o e m . T he date o f it s f i r s t p u b lic a tio n w a s F e b r u a r y 1, 1932 (in C o n te m p o ), and it is a lto g e th e r p o s s ib le th at F a u lk n e r w r o te th is p a r tic u la r p o e m a fte r h e h a d m a d e h is d e c is io n to r e tu r n to O xfo rd and c o n c e n tr a te h is c r e a tiv e e n e r g ie s up on th a t region^ ab ou t 1927. 2 ®To p u t th e e x a g g e r a te d d e ta ils o f h is e c c e n t r ic b e h a v io r in O x fo rd d u rin g 1 9 2 3 -2 4 in to b e tte r f o c u s , W illia m M c N e il ("M ack") R e e d , in te r v ie w e d by m e (O xford , M is s is s ip p i) , 10 A .M ., J u ly 27, 1962, p a in sta k in g ly e x p la in e d s o m e of th e m u c h -b a n d ie d e p is o d e s in th e s e w o r d s: " T h e r e 's no tr u th w h a te v e r to a ll th a t ta lk about B ill lo u n g in g j Ground th e d ru g s to r e r e a d in g th e m a g a z in e s and sp o n g in g o ff m e . Oh, j h e w o u ld c o m e in o fte n and m ig h t b r o w se or lo s e h im s e lf fo r a w h ile . j U s u a lly h e sto o d , c h e c k e d th ro u g h th e m a g a z in e s , and m a d e h is s e l e c - j tio n . He u s u a lly bou gh t, or if h e d id n 't h a v e th e m o n e y , h e c h a r g e d . He; • jalw ays had a n o p en c h a r g e a c co u n t h e r e . On tw o o c c a s io n s h e s a t down! bn th e flo o r , bu t in th o s e d a y s w e d id n 't h a v e m a n y c h a ir s [a s m ile h e r e ] . He c a m e in to th e s to r e b a r e fo o t o n ce or tw ic e a fte r w a lk in g in th e w o o d s . . . B ut B ill r a r e ly c a m e in h e r e b a r e fo o t- - c e r ta in ly n ot m o r e th an tw ic e ." 176 p ie c e s , and he had u se d so m e of its e le m e n ts in "The H ill," su ch as d e s c r ip tio n s of th e h ill co u n try , it s to b a c c o -c h e w in g r e d n e c k s, and th e ir a r g u m e n ta tiv e r e lig io u s fu n d a m e n ta lism . Such p o in ts in d ic a te d u rin g th is sta g e of h is lit e r a r y d e v e lo p m e n t an in c ip ie n t m o v e aw ay fro m su c h R o m a n tic d e v ic e s a s th o s e found in th e M arb le F a u n and to w a rd an e m e r g in g a w a r e n e s s of th e fic tio n a l p o s s ib ilit ie s of h is ow n g e o g r a p h i c a l r e g io n . S till, h e had m ad e no c o n s c io u s d e c is io n to d ir e c t the w h o le of h is lit e r a r y e ffo r t to w a rd r e g io n a l r e a lis m , and by 1925 h e had y e t to m a k e th at d e c is io n . T h ere w a s s t ill tim e fo r a n o th er e ffo r t at e s c a p e , an e s c a p e , od d ly enough, w h ic h F a u lk n er had a lr e a d y co n d em n ed in E u gen e O’N e ill, M a r sd e n H a r tle y , A lfr e d K r ey em b o rg , and E z r a Pou nd in h is a r tic le " A m e r ic a n D ram a: E u gen e O 'N e ill," p u b lish e d F e b r u a r y 3, 1922 {M is- 29 s is s ip p ia n , p . 5). He w o u ld go to E u rop e by w a y of N ew O r le a n s. On O cto b er 31, 1924, F a u lk n er r e s ig n e d the u n iv e r s ity p o s tm a s te r s h ip . He; la te r gave a s a r e a s o n th at he d e s ir e d to be f r e e to do w h at he w an ted 30 m o s t, "to tak e p ip e and p a p e r , and to d r e a m and w r ite ." He did n ot 29 C o llin s , "About th e S k e tc h e s," pp. 1 2 -1 3 , n o tes a r e p o r t in the to w n p a p er s h o r tly a fter F a u lk n e r 's r e s ig n a tio n as p o s tm a s te r at O le M is s : " R ep orts a r e c u r r e n t th a t M r. F a lk n e r w ill go ab ro a d in the n ea r; fu tu r e ." Soon a fte r F a u lk n e r 's a r r iv a l in N ew O rlea n s in J a n u a ry , 1925j Joh n M cC lu re in r e v ie w in g th e M arb le F au n in the P ica y u n e n oted , "He Is so o n off fo r E u ro p e." ! C o llin s, p. 10. The fa m o u s sta te m e n t upon h is r e s ig n a tio n , "Now I w o n 't be at the b e c k and c a ll of e v e r y so n o f a b itch w ho h a p p e n s to h a v e tw o c e n ts," n o ted b y R o b ert C oughlan, The P r iv a te W orld j bf W illia m F a u lk n er (N ew Y ork , 1954), p . 57, and s e v e r a l o th er w riters,; h a s b e e n s o fr e q u e n tly r e p o r te d and, in p r o p o r tio n to oth er s ta te m e n ts , j E x a g g era ted , th a t I h e s ita te to m e n tio n it a g a in , e v en though it d o e s d r a m a t ic a lly r e p r e s e n t F a u lk n e r 's a n im o sity to w a rd any a c tiv ity w h ich d is tr a c te d h im fr o m w r itin g . 177 know th en th at a fter h is e x p e r ie n c e in th e V ieu x C a rrd of N ew O r le a n s, a tr ip to E u ro p e, and a so jo u r n in P a s c a g o u la , h is d r e a m w ou ld b r in g h im h o m e a g a in . C H A PTER VII THE V IEU X C A R R E: A N D E R SO N 'S IN F L U E N C E T he m a jo r lit e r a r y in flu e n c e on W illia m F a u lk n e r 's e a r ly n o v e ls w a s S h erw ood A n d e r so n . Up to the p e r io d of th e ir fr ie n d sh ip in N ew O rlea n s F a u lk n er had a lm o s t e x c lu s iv e ly w r itte n p o etry ; th en h e tu rn ed to p r o s e and, w ith in a few m o n th s, w r o te h is f i r s t n o v el, S o ld ie r s ’ P a y (1 926). It w a s a m e m o r a b le fr ie n d sh ip fo r b oth m en . A n d e r so n d e s c r ib e d h is m e e tin g w ith F a u lk n er in th e s e w o r d s: I f ir s t sa w B ill F a u lk n er w h en h e ca m e to m y a p a rtm en t in N ew O r le a n s. Y ou w ill r e m e m b e r th e s to r y of A b rah am L in c o ln 's m e e t in g w ith the S ou th ern c o m m is s io n e r s , on th e boat, on th e P o to m a c in 1864. The S ou th ern c o m m is s io n e r s had c o m e to tr y to n e g o tia te so m e s o r t o f p e a c e and am on g th em w a s th e V ic e - P r e s id e n t of th e c o n fe d e r a c y , A le x a n d e r S tep h en s. H e w a s su c h a s m a ll m a n and w o r e a huge o v e r c o a t. "D id y o u e v e r s e e s o m u ch sh u c k fo r s o lit tle nubbin?" L in c o ln s a id to a fr ie n d . I thought of the s to r y w h en I f i r s t saw F a u lk n er. He a ls o had on; a b ig o v e r c o a t, it b ein g w in te r , an d it b u lg ed str a n g e ly , so m u ch , th at a t f ir s t g la n c e , I th ou gh t he m u s t be in s o m e q u eer w a y d e fo r m e d . He to ld m e th a t h e in ten d ed to s ta y fo r so m e tim e in N ew O r le a n s and a sk e d if in th e m e a n tim e , w h ile he w as lo o k in g fo r a p la c e , he c o u ld le a v e s o m e of h is th in g s w ith m e . H is "things" c o n s is t e d of s o m e s ix or e ig h t h a lf g a llo n ja r s o f m oon liq u o r he had j b ro u g h t w ith h im fro m th e co u n try and th at w e r e sto w ed in the p o c k - 1 e ts o f the b ig coat.-* A n d e r so n 's "A M eetin g South" w as f i r s t p u b lish e d in The D ia l in A p r il, 1925; in th is f ir s t - p e r s o n s k e tc h h e p ro d u ced a c h a r a c te r n am ed D avid , j j | Svho is p ro b a b ly m o d ele d on F a u lk n er: ; j * S h erw ood A n d erso n , S h erw o o d A n d e r so n 's M e m o ir s (N ew Y ork; 1942), p . 473. ....................................... 178. . .. j 179 E v e n in g w as c o m in g , th e abrup t w an in g of th e day and th e qu ick sm ok y s o f t rfo o ted co m in g of n ig h t c h a r a c t e r is tic of our s e m i- t r o p ic c ity , w h e n h e p r o d u ce d a b o ttle fr o m h is hip p o c k e t. It w a s s o la r g e th at I w a s a m a zed . How had it h ap p en ed th at the c a r r y in g of so la r g e a b ottle h a d not m a d e h im lo o k d efo r m e d ? H is b od y w a s v e r y s m a ll and d e lic a t e ly b u ilt. " P e r h a p s, lik e th e k a n g a ro o , h is body h a s d e v e lo p e d s o m e kind of n a tu ra l p o u ch fo r tak in g c a r e of s u p p lie s," I thought. R e a lly h e w a lk ed a s one m ig h t fa n cy a k a n g a ro o w o u ld w a lk w hen out fo r a q u iet ev en in g stro ll.^ The se ttin g o f th is s c e n e is N ew O r le a n s. T he n a r r a to r --u n d is - g u is e d ly A n d e r so n h i m s e l f - - f i r s t d e s c r ib e s D avid a s te llin g " m e the s to r y of h is i l l fo r tu n e w ith a v e r y g e n tle m a n ly lit t le s m ile on h is v e r y s e n s it iv e l i p s . . . . I lik e d h is to n e, lik e d him " (p. 269); th en la te r as "the little S ou th ern p o et" (p. 276) w ho s a y s , "If I co u ld w r ite lik e S h el le y I w ould b e happy. I w o u ld n ’t c a r e w h at h ap p en ed to m e" (p. 279). A s th ey go dow n the s t a ir s A n d e r so n o b s e r v e s , I n o tic e d th at he w a s a c r ip p le . The s lig h t lim p , th e lo o k of p a in th a t o c c a s io n a lly d r ifte d a c r o s s h is fa c e , th e lit t le la u g h that w a s in ten d ed to be jo lly , but did n ot q u ite a c h ie v e its p u r p o se , a ll th e s e th in gs b e g a n at o n ce to t e ll m e the s to r y I h a v e now s e t m y s e lf dow n to w r ite , (p. 269) A n d er so n d e s ir e s to tak e the p o e t to s e e A unt S a lly , a m o th e r ly w o m a n j in h e r s ix t ie s who h a s s u c c e s s f u lly o p e r a te d a h o u se of g a m b lin g , b o o t le g g in g , a n d p r o stitu tio n . "One d o e s not tak e e v e r y ch an ce c a lle r to t Aunt Sally" (p. 269), A n d er so n o b s e r v e s , but he lik e s th is p e r so n : th e p se u d o n y m ity of A n d e r so n 's p e r s o n a is fu rth e r s u g g e ste d by th e n a r r a to r 's sta te m e n t ". . . I sh a ll c a ll h im D avid" (p. 269). 7 8 :2 6 9 -2 7 0 , A p r il 1925. F u rth e r r e f e r e n c e s to "A M eetin g ] jSouth" w ill b e in d ic a te d by p a g e n u m b ers in p a r e n th e s e s a fte r q u ota t io n s . T he p ie c e w a s a ls o p u b lish e d in S h erw ood A n d e r so n 1 s N o teb o o k ; j(New Y ork, 1926), p p . 1 0 3 -1 2 1 . S e v e r a l c r it ic s s u g g e s t the c h a r a c te r p a r a lle l b e tw e e n F a u lk n er and D avid , am on g th em J o sep h W a rren jB each, " W illia m F a u lk n er," A m e r ic a n F ic tio n 1 9 2 0 -1 9 4 0 (N ew Y ork, 1941), p. 147; Irvin g H ow e, S h erw ood A n d er so n ([N ew Y ork], 1951), pp. 1 5 9 -1 6 0 .................................................................. 180 A sid e fr o m th e fa c t th a t D a v id 's h o m e is in A la b a m a and F a u lk n e r 's in M is s is s ip p i, th e tw o h a v e m a n y r e m a r k a b ly s im ila r t r a it s . A s A n d er so n o b s e r v e s , D avid is "not a ffected " by "drink" (p. 269). H is m o o n liq u o r "w as m a d e b y a n ig g e r on h is fa th e r 's p la n ta tio n s o m e w h e r e o v er in A lab am a" (p. 27). A g a in , D avid is a p o e t and s o in th e d a r k n e ss by th e r iv e r w e sp ok e of K eats and S h e lle y , the tw o E n g lish p o e ts a ll good S ou th ern m e n lo v e . (p. 271) D a v id e v e n tu a lly r e la t e s "The s to r y of how h e ch a n ced to be a c r ip p le . . ." (p. 272); e v e n a s e x a g g e r a tio n s th e d e ta ils fo rm a str ik in g co n - g r u ity w ith a s p e c t s of F a u lk n e r 's w a r "legend": W hen the W orld W ar b ro k e out he w en t o v e r to E n glan d and m a n aged to g e t h im s e lf e n r o lle d a s an a v ia to r , v e r y m u ch I g a th er e d in th e s p ir it in w h ich a cou n try m a n , in a c ity fo r a n ig h t, m ig h t ta k e in a show . The E n g lish had b e e n glad enough to tak e h im on. He w a s one m o r e m a n . T h ey w e r e glad en ou gh to tak e any one on ju st th en . He w a s s m a ll and d e lic a te ly b u ilt, but a fte r he got in he tu rn ed out to be a f ir s t r a te fly e r , s e r v in g a ll th rou gh th e w ar w ith a B r itis h fly in g sq u ad ron , but a t th e la s t got in to a c r a s h and f e ll. B oth le g s w e r e b ro k en , one of th em in th r e e p la c e s , the s c a lp i w a s b ad ly to r n and so m e of th e b o n es of th e fa c e had b e e n sp lin te r e d : T h ey put h im in to a fie ld h o sp ita l and had p a tch ed h im up. "It w a s m y fa u lt if th e job w a s r a th e r b u n gled ," he sa id . "You s e e it w a s a f ie ld h o s p ita l, a h e ll of a p la c e . M en w e r e to r n a ll to p ie c e s , g ro a n in g and d yin g. T hen th e y m o v e d m e b a ck to a b a se h o s p ita l and: it w a sn 't m u ch b e tte r , (p. 272) D avid co n tin u es h is s to r y , p o in tin g out how he d e c e iv e d th e h o s p ita l au th o r itie s by c la im in g th at the n e r v e s of h is fa c e and le g did not h u rt. "It w a s a lie of c o u r s e . T he n e r v e s of m y le g and of m y fa ce h a v e n e v e r qu it hu rting" (p. 273). If D avid w a s in d eed m o d e le d on F a u lk n er , th en th e fo llo w in g r e - ! a c tio n of A n d er so n m a y p a r tia lly e x p la in h is a d m ira tio n fo r th e young poet: I got it. N o w o n d er he c a r r ie d h is d rin k s so w e ll. W hen I 181: i u n d e r sto o d I w an ted to k eep on d rin k in g w ith h im , w an ted to sta y w ith h im u n til h e had got tir e d of m e a s h e had of th e m an w ho la y b e s id e j h im in th e b a se h o sp ita l o v e r th er e s o m e w h e r e in F r a n c e , (p. 273) 3 D avid, a s F a u lk n er did , s u ffe r s fr o m in so m n ia . D rin k in g p r o m o t e s h is a b ility to s le e p b y d u llin g the p a in of h is n e r v e s . W hen the tw o m e n fin a lly a r r iv e a t A unt S a lly 's , D avid r e la t e s s e v e r a l s t o r ie s abou t h is fa th e r 's p la n ta tio n and how , on c e r ta in n ig h ts w h en he h a s d if fic u lty s le e p in g , "I tak e the b o ttle in m y hand and go in to th e f ie ld s , u n s e e n b y th e n ig g e r s" (p. 2 7 7 ). A n oth er b io g r a p h ic a l e le m e n t c o n c er n in g F a u lk n er is A n d e r so n 's su m m a r y of th e so u th e r n p o e t's a n c e s t r y and, p e r h a p s, the fa m ily 's co n d itio n a t h om e: The S o u th e r n e r 's g r e a t gra n d fa th er w a s E n g lis h , a youn g son , and he ca m e o v e r h e r e to m a k e h is fo rtu n e a s a p la n te r and did it. O nce he and h is s o n s ow ned s e v e r a l g r e a t p la n ta tio n s w ith s la v e s , but now h is fa th er h ad but a fe w hu n d red a c r e s le f t , abou t one of th e old h o u s e s - - s o m e w h e r e o v er in A la b a m a . The la n d is h e a v ily m o r tg a g e d and m o s t of it h a s not b e e n u n d er c u ltiv a tio n fo r y e a r s . N e g ro la b o u r is g row in g m o r e and m o r e e x p e n s iv e and u n s a tis fa c to r y s in c e so m a n y n e g r o e s h a v e run off to C h ica g o , and th e p o e t's fa th er and the one b r o th er a t h o m e a r e not m u ch good a t w o r k in g the lan d . "We a r e n 't j stro n g en ou gh and w e don 't know h ow ," the p o e t sa id . . . ."In a few j y e a r s now I rec k o n our fa m ily w o n 't h ave an y land . T he banks couldj tak e it now if th ey w a n ted it. T hey d o n 't w an t it. It w o u ld b e to o 1 m u ch tr o u b le fo r th em to m an age I reckon." (pp. 2 7 7 -2 7 8 ) J u s t b e fo r e th e sk e tc h e n d s, D avid g o e s to s le e p on the b r ic k s of the p a tio . The n a r r a to r o b s e r v e s , "W hat a s m a ll h u d d led fig u r e of a m an t h e lo o k ed , ly in g th er e on th e b rick , u n d er the n ig h t sky, in th e d eep sh ad o w s of th e banana p la n ts" (p. 279). ■^Dan B ren n an , q u oted in W illia m Van O 'C on n or's T he T a n g led j F ir e of W illia m F a u lk n er (M in n ea p o lis, 1954), p . 174, n o ted d u rin g a v i s i t w ith F a u lk n er in O xford th at F a u lk n er h ad su ffe r e d fr o m in so m n ia | a ll w e e k - - a s F a u lk n er sta te d it, " lik e an e le c t r ic lig h t bu rn in g in m y h e a d and r e fu s in g to be put out." R o b ert C oughlan, The P r iv a te W orld I ;of W illia m F a u lk n er (N ew Y ork, 1954), pp. 1 0 0 -1 0 1 , n o tes th at F a u lk n e r 's ro u tin e in v o lv ed h is " gettin g up a t about 4 A .M . (he n e e d s on ly a b ou t fiv e h o u rs s le e p ) . . . . " 182 M an y c ir c u m s t a n c e s in v o lv in g A n d e r s o n 's p e r s o n a D a v id a r e r e m a r k a b ly s im ila r to th e fa c ts o f F a u lk n e r 's life : th e lo c a le o f N ew O r le a n s i t s e l f , th e t im e , and th e fr ie n d s h ip w ith A n d e r so n , a lo n g w ith c e r t a in p a r a lle lin g d e t a ils b e tw e e n th e r e c o r d e d f a c t s of th e ir m e e tin g and th e in c id e n ts o f th e sk e tc h ; D a v id 's s m a l l s iz e a n d g e n e r a l a p p e a r a n ce; h is b e in g an a r is t o c r a t ic S o u th e r n p o e t; h is a d m ir a tio n fo r K ea ts and S h e lle y ;^ th e p a r t ic u la r iz e d a s p e c t s o f in so m n ia ; b oth th e f a c t s and 5 . 6 th e g u is e s of th e w a r e x p e r ie n c e ; th e im b ib in g of h o m e m a d e s p ir it s ; and th e t r a c in g o f th e p o e t 's f a m ily b a ck g ro u n d , e s p e c i a l l y th e a m p lifie d c o m m e n t on th e " g r e a t g r a n d fa th e r " and h is n o ta b le in d iv id u a lis m . In d e e d , t h e s e tr a it s of F a u lk n e r p r e s e n t e d in th e p e r s o n a of D a v id te m p t one to c o n s id e r th e p ie c e in th e lig h t of b io g r a p h ic a l r e p o r tin g a s w e ll 4 In " V e r s e O ld and N a sc e n t: A P ilg r im a g e ," S a lm a g u n d i (M il w a u k e e , 1 9 3 2 ), p p . 3 8 -3 9 , F a u lk n e r w r o te f e e lin g ly o f K ea ts an d S h e lle y : " S h e lle y d r e a m e d of g o ld e n m e n and w o m e n im m o r ta l in a s i l v e r w o r ld ! in w h ic h y o u n g J o h n K e a ts w r o te 'E n d y m io n ' tr y in g t o ga in en o u g h s i l - : v e r to m a r r y F a n n ie B ra w n e an d s e t up a n a p o th e c a r y 's sh o p . Is not th e r e a m o n g u s s o m e o n e w h o c a n w r ite s o m e th in g b e a u tifu l an d p a s s io n a te a n d sa d in s te a d of sa d d en in g ? " A g a in , of K e a ts ' " o d es to a N ig h tin g a le , to a G r e c ia n u rn , 'M u s ic to H e a r ,' e tc .; h e r e is th e s p ir it u a l b e a u ty w h ic h th e m o d e r n s s t r iv e v a in ly fo r w ith t r ic k e r y , an d y e t b e n e a th it o n e k n ow s a r e e n t r a ils ; m a s c u lin ity " (pp. 3 8 - 3 9 ) . T h is a r t ic le w a s o r ig in a lly pu b . in th e D oub le D e a le r , 7 :1 2 9 -1 3 1 , A p r il 1 9 2 5 - - t h e sa m e m o n th th a t A n d e r s o n 's "A M e e tin g South" a p p e a r e d in th e D ia l. ^ S ee Ch. I ll fo r an e x a m in a tio n o f th e fa c t a n d fic tio n o f F a u lk n e r 's w a r e x p e r ie n c e s and th e s ig n if ic a n c e of h is ow n c o n tr ib u tio n s to th e " le g e n d ." ^ F o r th is d e ta il w e h a v e n o t o n ly A n d e r s o n 's M e m o ir s , r e c o u n t-, in g h o w F a u lk n e r u n lo a d e d h is " th in g s," c o n s is t in g o f " six o r e ig h t h a lf jgallosa j a r s of m o o n liq u o r" (p. 4 7 3 ), but a l s o M a r s h a ll J. S m ith 's in t e r - jview , " F a u lk n e r o f M is s is s ip p i," B o o k m a n , 7 4 :4 1 1 , D e c e m b e r 193 1 , w h ic h b e g in s w ith t h is s ta te m e n t: "Sunday m o r n in g d ow n in O x fo rd , M i s s i s s i p p i , I fo u n d W illia m F a u lk n e r b o ttlin g b e e r in the k itc h e n . . . . 'He w a s sq u a ttin g on th e flo o r b e s id e a c r a c k e d c h u r n sip h o n in g sc u m m y h o m e b r e w out th r o u g h a p ie c e o f h o s e in to s e c o n d -h a n d g in g e r a le b o t t le s ." 183 a s f ic t io n . If A n d e r s o n w a s w r itin g f r o m w h a t h e th o u g h t w e r e th e f a c t s o f F a u lk n e r 's w a r e x p e r ie n c e , th en v a r io u s a s p e c t s o f th e p o r t r a it h e c r e a t e d m a y s u g g e s t th a t F a u lk n e r h i m s e l f w a s c o n tin u in g to p la y th e r o le o f th e t r a g ic a lly in j u r e d a v ia to r , a t the t im e p e r h a p s a s n e c e s s a r y to h is s e n s e o f id e n tity a s th e v e n e e r o f h is " C ou n t N o 'c o u n t" d a y s a t th e U n iv e r s it y of M i s s i s s i p p i (s e e C h a p te r IV ). F a u lk n e r m a y h a v e m a d e a t r ip to N ew O r le a n s la t e in 1 9 2 4 an d m e t A n d e r s o n th e n 7 A n d e r s o n , w h o w a s in th e c it y d u r in g th e w in t e r of 1 9 2 3 -2 4 , to o k up r e s id e n c e th e r e b y A u g u st, 1 9 2 4 , w ith h is n e w w ife , E liz a b e t h P r a l l . In th e f a l l o f 192 4 , H o r a c e L iv e r ig h t, w h o w a s a n x io u s to b e c o m e A n d e r s o n 's p u b lis h e r , a l s o m a d e th e tr ip to N ew O r le a n s to : m e e t h im . D u r in g J a n u a r y and F e b r u a r y of 1 9 2 5 A n d e r s o n w a s m a k in g : a le c t u r e to u r o f v a r io u s c o lle g e s a n d u n i v e r s i t i e s . He r e tu r n e d to N ew O r le a n s b y M a r c h 20 a n d fin is h e d th e f i r s t d r a ft o f h is M id - A m e r ic a n : i C h ild h o o d ; a n d on A p r il 10 h e s ig n e d a f i v e - y e a r a g r e e m e n t w ith L iv erig h t.® F a u lk n e r h a d kn ow n E liz a b e t h P r a l l d u rin g h is m o n th s in 7 C a r v e l C o llin s s u g g e s t s t h is in "A bout th e S k e t c h e s ," N ew O r le a n s S k e t c h e s (N ew B r u n s w ic k , 1 9 5 8 ), p . 18. H o w e v e r , J a m e s S c h e v ill; S h e r w o o d A n d e r so n ; H is L ife and H is W ork (U n iv e r s it y o f D e n v e r , 1951),; p . 1 9 4 , d e s c r i b e s the m e e t in g w ith a r e f e r e n c e to A n d e r s o n 's "new f r ie n d w h o m h e m e t in 1 9 2 5 , a s lig h t , c r ip p le d , la z y fig u r e w ith p ie r c in g ieyes a n d a m u sta c h e " ( i t a l i c s a d d ed ). T o c la r i f y S c h e v ill's r e f e r e n c e to th e " c r ip p le d . . . f ig u r e ," I sh o u ld r e m in d th e r e a d e r o f S to n e 's s t a t e - ! m e n t, m e n t io n e d in Ch. I ll, a p p lic a b le to the p e r io d w ith in s i x w e e k s ; a ft e r F a u lk n e r ' s r e tu r n f r o m C an ad a to O xford: " A s fa r a s I c o u ld s e e h e w a s n 't in ju r e d at a ll." It i s , of c o u r s e , p o s s ib le th a t F a u lk n e r w a s i in ju r e d s o m e t im e a fte r th e w a r , a lth o u g h I fin d n o r e c o r d o f su c h a n in-: ju r y . ; ^ S c h e v ill, S h e r w o o d A n d e r s o n . . ., p p . 1 9 3 -1 9 4 , 2 0 1 , 2 0 4 - 2 0 5 . C o llin s , " A b ou t th e S k e t c h e s ," p. 1 7 , w r it e s th a t "E a r ly in 1922 A n d e r so n h a d liv e d b r ie f ly in N e w O r le a n s " ( it a lic s a d d ed ) b e c a u s e h e w a s a t t r a c t e d b y th e c it y 's c u lt u r a l lif e a n d th e p u b lic a tio n of th e D ou b le D e a l- i e r . S c h e v ill, h o w e v e r , d o e s n o t m e n t io n th is in h is b io g r a p h y of 184: N ew Y ork a s a b o o k sto re c le r k at L o rd and T a y lo r 's , p ro b a b ly in 1921, : and h e th us had an op p ortu n ity th rou gh h e r to m e e t A n d er so n . W hen a stu d en t la te r a sk e d F a u lk n er, "W as th e r e so m e th in g in N ew O rlea n s th a t p u lle d you dow n th e r e , or w e r e you ju s t m ak in g the trip ? " F a u lk n er r e p lie d , W ell, y e s , I had h e a r d of The D ouble D e a le r and th e p e o p le th er e fo r y e a r s . A t th at tim e I w en t to N ew O r le a n s to g e t a job in a sh ip and go to E u ro p e, th at w a s w h y I hap p en ed to be in N ew O rlea n s at the tim e . That I h a d n 't- -it w a s no p u ll to b e a p a rt o f a lit e r a r y group, no. T hat I h ad fe lt the p u ll- - I th in k th a t any youn g w r ite r d o e s f e e l th a t p u ll to b e w ith p e o p le th at h a v e the sa m e p r o b le m s and th e sa m e in t e r e s t s a s h im , th at w o n 't lau gh at w h a t h e s a y s no m a tte r how fo o lis h it m ig h t sound to th e P h ilis tin e , but th at w a s th e r e a s o n I w a s in N ew O r le a n s, w a s to g et a job w ith a ship.^ F a u lk n er , no doubt, had p la n n ed to go to E u ro p e at about th e tim e of h is r e s ig n a tio n of th e p o stm a s te r sh ip : the to w n p a p er h ad r e p o r te d h is in te n tio n to do so , and so had John M cC lu re so o n a fte r F a u lk n e r 's a r r iv a l in N ew O rlea n s in Jan u ary, 1925?^ A fte r F a u lk n e r 's M arb le F au n had i ; ’ ; b e e n p u b lish e d in D e c e m b e r , 1924, P h il Stone w r o te le t t e r s to su ch peo-; p ie a s H a r r ie t M o n ro e, e d ito r of P o e tr y , and p o s s ib ly to S h erw ood A n - \ d e r so n , h oping to get a d d itio n a l su p p o rt fo r h is p r o te g e 's n ew c a r e e r as! i a p u b lish e d p o e t. H a r r ie t M on roe w a s in a g r e e m e n t w ith Stone c o n c e r n in g F a u lk n e r 's p r o m is in g fu tu re a s a p o e t - - o r , at le a s t , so sta te d to S to n e --b u t A n d er so n a p p a ren tly f e lt th at F a u lk n er n e ed ed m o r e e x p e r i- ; A n d erso n . i ^In F a u lk n er in th e U n iv e r s ity , e d s . F r e d e r ic k L. G wynn and ' [ J o sep h L. B lo tn er (C h a r lo tte s v ille , V ir g in ia , 1959), " S e s sio n T w en ty- j F iv e ," G raduate C o u rse in A m e r ic a n F ic tio n , F e b r u a r y 21, 195 8 , p. 231i ^ C o llin s n o te s th e s e fa c ts in "A bout the S k e tc h e s," pp . 1 2 -1 3 . 1 M cC lu re m e n tio n e d F a u lk n e r 's in ten tio n to go to E u rop e in h is r e v ie w j of th e M arb le F a u n in h is co lu m n " L ite r a tu r e and L e s s ," N ew O rlea n s ; T im e s - P ic a y u n e , Sunday m a g a z in e s e c ., J a n u a ry 25, 1925, p. 6 . i 185 11 e n ce a s a w r ite r . Stone h im s e lf fe lt th a t a tr ip ab ro a d m ig h t h elp F a u lk n er to ga in a rep u ta tio n a s a w r ite r , w h ich th e p u b lic a tio n of th e M arb le F au n o b v io u sly w a s n ot a c c o m p lis h in g . So, fo llo w in g th e e x a m - , p ie of o th er e x p a tr ia te s su ch a s E lio t, P ou n d , and H em in g w a y , F a u lk n er le ft fo r E u rop e by w a y of N ew O r le a n s. Ston e w en t alon g fo r a sh o r t v a - 12 c a tio n in N ew O r le a n s. A n d er so n w a s aw ay on h is le c tu r e to u r u n til la te M a rch , but b y F e b r u a r y F a u lk n er w a s p u b lish in g in both th e D ouble D e a le r and the T im e s - P ic a y u n e . He had a lr e a d y m ad e h im s e lf know n to th e sta ff of the D ouble D e a le r w ith th e p u b lic a tio n of h is p o e m " P o rtr a it" in Ju n e, 1922 (p r e v io u s ly d is c u s s e d in C h ap ter V). It is a ls o p o s s ib le th at A n d erso n , 13 if h e had b een c o m m u n ica tin g w ith Stone about F a u lk n er, had u s e d h is : in flu e n c e on F a u lk n e r 's b eh a lf w ith su ch m e m b e r s of the m a g a z in e sta ff a s J u liu s F r ie n d and J a m e s F e ib le m a n , w ith w hom A n d er so n had p r e v i o u sly b e c o m e a cq u a in ted . John M c C lu r e 's r e v ie w of F a u lk n e r 's n e w ly j p u b lish e d M a rb le F au n in J a n u a ry of 1925 in d ic a te s th at h is w o rk w a s ^ B i l l H udson, " F a u lk n er b e fo r e 'S a n ctu a ry ,'" C a r o lin a M a g a z in e , 69 :1 3 , A p r il 19^5. ^ R o b e r t C oughlan, T he P r iv a te W orld of W illia m F a u lk n e r , p. 59. 1 * 2 I s a y "if" b e c a u se I am h e r e r e ly in g on B ill H u d son 's in fo r m a tio n in " F a u lk n er b e fo r e 'S a n ctu a ry ,'" p. 13. Stone, In terv iew N o. 1, did m e n tio n to m e h is en o rm o u s c o r r e sp o n d e n c e , " all th e le t t e r s I'v e w r it- i ten 'in r e B ill F a u lk n er," ' but h e did n ot s p e c ify e x c h a n g e s of le t t e r s ivith Sh erw ood A n d erso n . T he s e le c t e d L e tte r s of S h erw ood A n d e r so n , j ed . H ow ard M u m ford J o n es (B o sto n , 1953), pp. 1 4 5 -1 4 6 , co n ta in s o n ly one le t t e r to P h il S tone, d ated A u g u st 17, 1925. The su b jec t is " B ill's n o v e l," S o ld ie r s' P a y , a p p a ren tly s t ill u n d er e d ito r ia l c o n sid e r a tio n . The ton e of th e le t t e r is so m e w h a t fa m ilia r , c o m m e n c in g "M y d ea r Phil; Stone" and co n clu d in g w ith a n a p o lo g y fo r a d e la y in a n sw e r in g , both of : w h ich m a y s u g g e s t the p o s s ib ilit y that Stone and A n d er so n had e x ch an ged le t t e r s at an e a r lie r d ate than th is . 186 w e ll know n by s t i l l an oth er sta ff m e m b e r . M cC lu re, w ho a ls o w r o te a r e g u la r c o lu m n fo r the T im e s-P ic a y u n e ^ b e c a m e "an a c tiv e s p o n s o r and c lo s e frien d " of F a u lk n e r .^ The fo llo w in g li s t of F a u lk n e r 's p u b lic a tio n s d u rin g 1925 w ill p r o v e h elp fu l fo r fu tu re r e fe r e n c e : P u b lic a tio n s in th e D oub le D e a le r (p r o se ) "On C r itic is m ," 7 :8 3 -8 4 , J a n u a r y -F e b r u a r y 1925. "N ew O r le a n s," 7 :1 0 2 -1 0 7 , J a n u a r y -F e b r u a r y 1925. T h e se c o m p r is e e le v e n sh o r t s k e tc h e s , so m e of w h ich r e f le c t th o s e pub lis h e d in th e T im e s -P ic a y u n e fr o m F e b r u a r y to S e p tem b e r, 1925 " V e r se O ld and N a scen t: A P ilg r im a g e ," 7 :1 2 9 -1 3 1 , A p r il 1925. (p o etry ) "D ying G la d ia to r," 7 :85, J a n u a r y -F e b r u a r y 1925. "The F au n ," 7 :1 4 8 , A p r il 1925. "The L ila c s ," 7 :1 8 5 -1 8 7 , June 1925. S lig h tly r e v is e d as P o e m I in a G reen B ough. P u b lic a tio n s in th e T im e s -P ic a y u n e (Sunday m a g a z in e s e c .) = " M ir r o r s of C h a r tr es S tr e e t," F e b r u a r y 8 , pp. 1, 6 . " D am on and P y th ia s U n lim ited ," F e b r u a r y 15, p. 7. "H om e," F e b r u a r y 22, p. 3. " J e a lo u sy ," M arch 1, p. 2. " C h eest," A p r il 5, p. 4. "Out of N a za reth ," A p r il 12, p . 4. "The K ingdom of G od," A p r il 26, p. 4. "T he R o sa r y ," M ay 3, p. 2. "The C o b b ler," M ay 10, p. 7. " C h an ce," M ay 17, p. 7. " S u n set," M ay 24, pp. 4, 7. "T he Kid L e a r n s," M ay 31, p. 2. ! "The L ia r ," J u ly 26, pp. 3, 6 . | " E p iso d e," A u g u st 16, p. 2. "C oun try M ic e ," S ep tem b er 20, p. 7. "Yo H o and T w o B o ttle s of R um ," S ep tem b er 27, pp. 1,2. B y the tim e F a u lk n er and A n d er so n m e t, A n d erso n h ad a lr ea d y ^ C o l l i n s , "About th e S k e tc h e s," pp . 1 4 -1 5 . 187 p u b lish e d th e w o r k s on w h ic h h is fa m e c h ie f ly r e s t s , W in es b u rg , O hio (1919), T he T riu m p h of th e E g g (1921), and H o r s e s and M en (1 9 2 3 ). He w a s th e lio n of th e lit e r a r y - a r t group in th e V ieu x C a r r e , and it w a s n a tu r a l th a t the a s p ir in g you n g F a u lk n er w o u ld s e e k h im ou t. F a u lk n e r la te r g a v e th is s u m m a r y of th e ir m e e tin g in N ew O rlea n s: L a ter I h ad h e a r d th at s h e [E liz a b e th P r a ll] had m a r r ie d A n d e r so n , w a s liv in g in N ew O r le a n s, I h ap p en ed to be in N ew O r le a n s and I had gone to c a ll on h e r , b e c a u s e I w a s n 't g o in g to b u st in on M r. A n d e r so n w ith o u t an in v ita tio n fr o m h im , I d id n 't th in k th at I w o u ld s e e h im at a ll, th at h e w o u ld p r o b a b ly be in h is stu d y w o r k in g , but it h a p p e n e d th a t h e w a s in the r o o m at th e tim e , and w e ta lk e d and w e lik e d one a n o th e r fr o m the s ta r t, and it w a s ju s t th e ch a n c e th a t I h ad gone to c a ll on M is s P r a ll th a t I had know n w h o had b e e n k in d to m e w h en I w a s a c le r k in a book s t o r e [in N ew Y ork ] th a t I c a m e to m e e t h im It w a s p o s s ib ly th ro u g h A n d e r so n 's fa v o r th a t F a u lk n er r e c e iv e d su c h u n d e rsta n d in g su p p o rt fr o m th e s ta ffs of th e D ou b le D e a le r and th e T im e s - P ic a y u n e ; b u t A n d e r so n 's in flu e n c e w en t d e e p e r th an m e r e p a tr o n a g e . D oing s o m e c o lla b o r a tio n on th e tr a d itio n a l kind o f so u th w e st h u m o r o u s t a le s , th e tw o m e n e x c h a n g e d a s e r i e s of le t t e r s . S e v e r a l tim e s A n d e r so n c r it ic iz e d F a u lk n e r 's w r itin g , and r e q u ir e d h im to r e v is e h is w o r k or q u it a lto g e th e r .^ He e v e n u r g e d F a u lk n er to w r ite a n o v e l and in s p ir e d h im to a fe v e r of c r e a tio n : th e youn g w r it e r 's f ir s t 17 n o v e l, S o ld ie r s' P a y (1926), w a s c o m p le te d in s ix w e e k s . A n d e r so n a p p a r e n tly th en w en t to h is n ew p u b lis h e r , H o r a c e L iv e r ig h t, and a r g u e d ! ! 15 In F a u lk n e r in th e U n iv e r s it y , p. 230. ^ F a u lk n e r , " S h erw ood A n d erso n ," A tla n tic , 19 1 :2 9 , June 1953. j * ^ W illia m V an O 'C on n or, The T a n g le d F ir e of W illia m F a u lk n e r , p . 25. 188 18 s u c c e s s f u lly fo r its p u b lic a tio n . W hen F a u lk n er r e a d A n d e r so n 's b o o k s, le n t to h im b y P h il Stone, he w a s e n c o u r a g e d at th e p o s s ib ilit ie s w h ic h p r o s e fic tio n o ffe r e d . A n d e r s o n 's "I'm a F o o l," h e th o u g h t, w a s "the b e s t s h o r t s to r y in A m e r i c a ." ^ T h u s, it s e e m s c le a r th at F a u lk n e r w a s th o r o u g h ly im p r e s s e d by A n d e r so n 's w ork ; and it is a ll the m o r e lik e ly th a t th e ir e n su in g fr ie n d sh ip f i r s t a lte r e d F a u lk n e r 's in ten tio n to go on to E u r o p e --a lth o u g h one m u st a ls o s u s p e c t e c o n o m ic n e c e s s it y an d the la c k of o p p o rtu n ity in fin d in g a job on an a v a ila b le sh ip . W h eth er th ro u g h d e s ir e or n e c e s s it y - - o r b o t h --h e te m p o r a r ily a c c e p te d th e b o h e m ia n s of the V ie u x C a rre in p la c e of th e P a r is ia n r e b e ls of th e L e ft Bank. T h rou gh A n d e r so n 's e x a m p le and a d v ic e , he b e c a m e in c r e a s in g ly a w a r e o f th e p o s s ib ilit ie s 20 of a r t a t h o m e. L a te r , h e w a s to r e c a l l th e fa c t th a t A n d e r s o n 's e x - 21 a m p le gave b ir th to h is d e c is io n to b e a n o v e lis t. B y A p r il 26, 1925, F a u lk n er k n ew A n d e r s o n 's w o rk w e ll enough ; ^ A n d erso n , M e m o ir s , p. 4 7 6 , s p e c if ic a lly sta te d th a t h e "m ade a fig h t to g e t th e b ook p u b lis h e d . . . g o in g p e r s o n a lly to H o r a c e L iv e r - ig h t to p le a d fo r th e [b ook ]." S c h e v ill, S h erw ood A n d e r so n . . ., p . 207, i n o te s th a t "it w a s la r g e ly A n d e r s o n 's r e c o m m e n d a tio n th at g o t th e book a c c e p te d as L iv e r ig h t d id n o t lik e it." ^ F a u lk n e r , " S h erw ood A n d e r so n ," P r in c e to n U n iv e r s it y L ib r a r y Ic h r o n ic le , 18, N o . 3:91, S p rin g 1957. O r ig in a lly pu b. in T he D a lla s M o rn in g N e w s, A p r il 26, 1 9 2 5 , p. 7. ' ; ' ^ M a lc o lm C o w ley , "A n In tro d u ctio n to W illia m F a u lk n e r ," | C r itiq u e s and E s s a y s on M o d e rn F ic t io n 1 9 2 0 -1 9 5 1 , ed . Jo h n A ld r id g e | i(New Y ork, 1 9 5 2 ), p. 4 2 8 . S c h e v ill, S h erw o o d A n d e r so n . . ., p . 106, (sta tes of A n d e r so n 's in flu e n c e on F a u lk n e r , " H is tu rn in g b a c k to th e I ’ m y th s e t th e e x a m p le fo r F a u lk n e r 's e x tr a o r d in a r y a ttem p t to c r e a te a ! m y th o lo g ic a l so u th e r n co u n ty c a lle d Y okn ap ataw p h a." “ ^ F a u lk n e r , "Sherw ood A n d erson ," A tla n tic, p. 29. 22 to w r ite a th o ro u g h r e v ie w of it. H e g a v e W in e sb u r g and H o r s e s f u l s o m e p r a is e , d isp a r a g in g su c h e p ith e ts of h is fr ie n d a s th e " P h a llic C hekhov" and the " A m e r ic a n T o ls to i," in s is t in g th a t A n d e r so n w a s " A m e r ic a n , and m o r e th an th a t, a m id d le w e s t e r n e r , of the s o il: h e is 2 3 • a s ty p ic a l o f O hio in h is w a y a s H a rd in g w a s in h is ." T he a r t ic le r e v e a ls a c lo s e fr ie n d s h ip b e tw e e n th e tw o m en ; F a u lk n er r e f e r s to a y a c h t tr ip th e y to o k to g e th e r , th en to a m o s t p e c u lia r d r e a m w h ic h A n d e r s o n had r e la t e d to him : W e w e r e sp en d in g a w e e k -e n d on a r iv e r b o a t, A n d e r so n and I. I h ad n o t s le p t m u ch and s o I w a s out and w a tch in g th e su n r i s e , tu rn in g th e m u d d y r e a c h e s of th e M is s is s ip p i e v e n , t e m p o r a r ily to m a g ic , w h en h e jo in e d m e , la u g h in g . "I had a fu nny d r e a m la s t n ig h t. L et m e t e l l y o u about it," w a s h is o p en in g r e m a r k - - n o t e v e n a g o o d m o r n in g . "I d r e a m e d th a t I c o u ld n 't s le e p , th a t I w a s r id in g arou n d th e co u n try on a h o r s e - - h a d r id d e n fo r d a y s. A t la s t I m e t a m a n , and I sw a p p ed h im th e h o r s e fo r a n ig h t's s le e p . T h is w a s in th e m o r n in g and h e to ld m e w h e r e to b r in g th e h o r s e , and so w h en d ark c a m e I w a s r ig h t on tim e , sta n d in g in fr o n t of h is h o u se , h o ld in g th e h o r s e , r e a d y to r u sh off to b ed . But th e fe llo w n e v e r sh o w ed u p - - le f t m e sta n d in g th e r e a ll n igh t, h o ld in g th e h o r s e ." (p. 93) T w e n ty -e ig h t y e a r s la t e r F a u lk n er w r o te in a tr ib u te to A n d e r so n of th e g r e a t n e s s of W in e sb u r g , T riu m p h , and H o r s e s ; and h e m e n tio n e d th is s a m e p e c u lia r d r e a m in a so m e w h a t d iffe r e n t fo c u s . T he d r e a m i t s e l f is e s s e n t ia lly th e s a m e , but the s e ttin g v a r ie s ; in th e e a r ly p ie c e , A n d e r s o n r e la t e s th e d r e a m on a s h ip 's d eck , w h ile in th e la te r p ie c e h e is s ittin g on a b e n c h in J a c k so n Sq ua r eI t is in t e r e s t in g th a t F a u lk - ^ I n th e D a lla s M o rn in g N e w s , p. 7. 2 ^ " S h erw ood A n d e r so n ," P r in c e to n U n iv e r s ity L ib r a r y C h ro n i- c le , pp. 9 3 -9 4 . F u r th e r r e f e r e n c e s to th is a r t ic le w ill be in d ic a te d b y p a g e n u m b e r s in p a r e n th e s e s a fte r q u o ta tio n s. ^ C f . F a u lk n er's "Sherw ood A n d erson ," A tla n tic , p. 27. 190 n e r 's r e t r o s p e c t io n of 1953 a d m itte d th e o b v io u s p a r t of th e A n d erso n in flu e n c e : the m a n 's e x a m p le a s a w r it e r , h is a d m ira b le s e n s e of m e t ie r , h is in s tr u c tio n in the t a ll ta le , th e fo s te r in g of S o ld ie r s 1 P a y , the fa v o r w ith H o ra ce L iv e r ig h t--b u t F a u lk n er , alth ou gh h e m e n tio n e d it, fa ile d to e m p h a siz e the p a r t A n d e r so n p la y e d in s te e r in g h is e a r ly w ork in the d ir e c tio n of r e g io n a lis tic im p r e s s io n is m and a w a y fro m th e f u t ili ty of h is p o s t-w a r d is illu s io n m e n t. B ut p e r h a p s, ju st a s T im e had co n fu se d th e d e ta ils of the d rea m F a u lk n er r e to ld in 1953, T im e h ad a ls o lim n e d o v e r th e e x te n t and depth of A n d e r so n 's in flu e n c e on n ot on ly h is e a r ly w o r k but a ls o on h is m o r e m a tu r e , su b seq u en t n o v e ls , w h ich e x ten d th e su b sta n ce of the r e g io n a l m y th . 25 The A n d er so n o v e r to n e s in F a u lk n e r 's N ew O rlea n s S k etch es and S o ld ie r s ' P a y ten d to be g e n e r a l r a th e r th an s p e c if ic . The em p h a s i s on lo c a l c o lo r and n a tu r a lis tic d e v ic e s , r a th e r than th e e x o tic and R o m a n tic, is c e r ta in ly o b s e r v a b le . W h erea s F a u lk n er had b een la r g e ly ; in t e r e s t e d in p o e tr y b e fo r e h is s ix -m o n th sta y in N ew O r le a n s, h is in t e r e s t s tu rn ed to p r o s e - - a n d , m o r e p a r tic u la r ly , to th e su b sta n ce of lo c a l c o lo r . It i s th is v e r y g e n e r a l k in d of e m p h a sis on su b je c t and tr e a tm e n t, c le a r ly e m e r g in g in th e s k e tc h e s , w h ich is im p o rta n t to see ; fo r th e lo n g -r a n g e e ffe c t of th e s k e tc h e s on F a u lk n e r 's la te r lit e r a r y p ro d u ctio n can n ot be o v e r r a te d . C a r v e l C o llin s in h is in tro d u c tio n to the s e v e n te e n N ew O rlea n s s k e tc h e s p o in ts out th e ir m a n y g e n e s e s of The s ix te e n T im e s -P ic a y u n e p ie c e s p u b lish e d fro m F e b r u a r y ; |8 to S e p tem b e r 2 7 , 1925, h a v e b e e n c o lle c te d , a lo n g w ith th e D ouble j iD ealer "New O rlea n s" sk e tc h , p u b lish e d in th e J a n u a r y -F e b r u a r y issu ed lin N ew O rlea n s S k e tc h e s, ed . C a r v e l C o llin s (N ew B ru n sw ick , 1958). -All p a g e r e f e r e n c e s to th e s k e tc h e s a r e ta k en fr o m th is s o u r c e and ap - ; p e a r in p a r e n th e s e s a fter q u o ta tio n s. 191 c h a r a c t e r iz a t io n s , te c h n ic a l d e v ic e s , and th e m e s , th en t r a c e s th em to F a u lk n e r 's la t e r , m o r e m a tu r e w o rk , in c lu d in g S a rto r i s , T he Sound and th e F u r y , A s I L ay D y in g , L ig h t in A u g u st, P y lo n , T he H a m le t, and A F a b l e in on e of th e s e v ig n e tt e s "T he L ia r ," p u b lish e d J u ly 26, 1925, F a u lk n e r u s e d th e lo c a l c o lo r of L a fa y e tte C oun ty, r e p le te w ith m e n ta lk in g on th e p o r c h of a g e n e r a l s to r e {one of th em n a m ed " E k ," s u g g e s t s The H a m le t), a t a ll t a le (the a c tio n of a h o r s e ru n n in g th ro u g h a h o u se a n tic ip a te s " Sp otted H o r s e s " ), and " p o o r -w h ite " d ia lo g u e . M o st o f th e o th er s k e t c h e s , h o w e v e r , d e a l w ith N ew O r le a n s s e t tin g s . A lth o u g h p u r p o s e ly g le a n in g th e P ic a y u n e p ie c e s fo r s p e c if ic p a r a lle ls b e tw e e n th em and A n d e r s o n 's p r e -1 9 2 5 w o r k r e v e a ls n oth in g a s c le a r ly a p p a ren t a s , sa y , H e m in g w a y 's in flu e n c e on F a u lk n e r 's T he W ild P a lm s , ^ th e r e n e v e r t h e le s s a r e s o m e in t e r e s t in g c o in c id e n c e s of a s p e c if ic n a tu r e . T he f i r s t l i e s in th e p e r s o n ific a tio n of d ea th as a c lo s e r e la t iv e . In A n d e r s o n 's "Out of N o w h ere in to N othing" fr o m T r i- I i u m p h (1921), R o sa lin d W e s tc o tt's c it y lo v e r , W a lte r S a y e r s , in the com -; p a n y of th e n o w -d e a d lo v e o f h is w ife in n a m e, th in k s m y s t e r io u s ly a s a v is io n of R o sa lin d o b tru d es i t s e l f up on h is c o n s c io u s n e s s in th e e v e n in g , " N igh t is th e s w e e t lit t le b r o th e r of D e a t h . F a u l k n e r ' s sk e tc h "The K id L ea r n s" c o n c lu d e s w ith th e p r o ta g o n is t 's e n v is io n in g a g ir l a s he a c tu a lly d ie s , sh e ta k in g h is hand and id e n tify in g h e r s e lf a s " L ittle 2 6 N ew O r le a n s S k e tc h e s , pp . 2 6 -3 0 . ^ S e e m y a r t ic le , "T he 'H e m in g w a v e s' in F a u lk n e r 's 'W ild P a lm s ,'" M o d e rn F ic tio n S tu d ie s , 4 , N o. 4 :3 5 7 -3 6 0 , W in ter 1 9 5 8 -5 9 . 28 (N ew Y ork ), pp . 171-267. F u r th e r p a g e r e f e r e n c e s to T r i u m p h ap p ea r in p a r e n th e s e s a fte r q u o ta tio n s. 192 s is t e r D eath" (p. 167). A se c o n d p a r a lle l in v o lv e s th e s t y lis t ic u s e of c l a s s i c a l m e ta p h o r ic a l m a t e r ia ls . In "T he E g g ," fr o m T riu m p h , to w h ic h F a u lk n er p a id h o m a g e, A n d er so n d e s c r ib e d h is fa t h e r -- w h o s e a tte m p ts at s u c c e s s , he fe lt, w e r e a r r e s t e d by F a t e ’s c a p r ic e - - a s a w o r k in g m an w ith a b a ld h ead , w h ich r e m in d s A n d e r so n of "a b ro a d road , su c h a s C a e sa r m ig h t h a v e m a d e on w h ich to le a d h is le g io n s out of R om e and into th e w o n d er s of an unknow n w o rld " (p. 50). F a u lk n er in h is sk e tc h " M ir ro r s of C h a r tr e s S treet" w r o te of th e fr u s tr a tio n s of an a r r e s t e d w ork in g m an . A fte r th e m a n v a n is h e s in a p o lic e w agon , the au th or p h ilo s o p h iz e s , A nd one th ought of C a e sa r m ou n tin g h is c h a r io t . . . and d riv in g alo n g the V ia A pp ia . . . and c e n tu r io n s c la s h e d th e ir s h ie ld s in the lig h t of g o ld e n p en n ons fla p p in g a c r o s s th e dawn. (p. 57). A sid e fr o m a llu s iv e s im ila r it ie s , b oth m e ta p h o r s are r e la t e d to th e fr u s tr a tio n s of u n se ttle d w o rk in g m e n and a r e co n jo in ed in th e co m m o n > m a n 's attitu d e of in v io la b le h op e e v e n in th e m id st of d e fe a t in lif e . O ther p a r a lle ls ca n be draw n b etw een th e tw o w r it e r s ' u s e s of a r c h a is m s and p r o s e ly r ic is m , th e la tte r o ften r e la te d to m a n 's m y s t e - i r io u s co m m u n io n w ith n a tu r e. B ut the w r it e r s d ea l a ls o w ith th e m e s c o m m o n to th em both: l if e 's im p r e s s io n s w h ich a re d e e p ly felt; l i f e ' s co rru p tio n ; death; decay; y o u th 's d is illu sio n m e n t; fa ith in lif e and a p e r s is t e n t hope of its b etter m e n t; w o r k w ith th e hands; m a n 's d ig n ity , e s p e c ia lly th e c o m m o n m a n 's d ign ity; and the b eau ty of e a r th , s p e c if i c a lly s c e n e s of a u r o r a l sp le n d o r , th e sk y, c lo u d s, and th e r iv e r at 29 n igh t. The q u a lity of A n d e r so n 's w r itin g , w h ic h Irvin g H ow e r e f e r r e d 29 A nderson's Triumph and Sherwood A nderson's Notebook (New 193 30 to a s h is "gift fo r g r a v e ly ly r ic a l e x p r e s s io n ," did not go u n o b se r v e d by th e t w e n t y - s e v e n - y e a r - o ld F a u lk n er: r a th e r , th e R o m a n tic in flu e n c e s w h ich had b e e n e v id e n t in su ch p o e m s a s " C a th a y " --th o se in flu e n c e s w h ich can b e a ttrib u te d to K eats and S h e lle y and fu r th e r a tte ste d to b y A n d er so n in h is te llin g c h a r a c te r iz a tio n of D avid in "A M eetin g S o u th " --g r a d u a lly g a v e w a y to a m a n n e r m o r e n a tu r a lis tic , to an a t m o s p h e r e w h ich s p r in g s fr o m th e s ig h ts and so u n d s of a n a tu re c lo s e to r e a lity and p e r c e p tib le to m a n . " C h e e st," p u b lish e d on A p r il 5 a fte r A n d e r so n 's r e tu r n to N ew O r le a n s, is p e r h a p s the b e s t illu s t r a t io n of F a u lk n e r 's ad a p ta tio n of one 31 of A n d e r so n 's fic tio n a l te c h n iq u e s. On A p r il 2 6 , F a u lk n er p u b lish e d Y ork, 1926) b e a r in t e r e s t in g th e m a tic c o m p a r is o n s to F a u lk n e r 's New O r le a n s S k e tc h e s , ed . C a r v e l C o llin s, S o ld ie r s1 P a y (N ew Y ork , 1926), and M o sq u ito e s (N ew Y ork, 1927). P e r tin e n t p a s s a g e s fr o m A n d e r so n 's w o r k w h ic h illu s t r a t e th e m a tic k in sh ip s w ith F a u lk n e r 's a r e th e se : fr o m T riu m p h , "Out of N o w h ere in to N oth in g," th e youn g g ir l aw are of lo v e , p . 204; u se of sk y, c lo u d s , and n a tu r e, p . 233; s ig h ts and sou n d s o f n a tu r e, p . 234; y o u th and l i f e ' s c o rr u p tio n , d eath , and d e c a y , p. 260; fr o m "M an w ith th e T ru m p et," hope in lif e , pp. 2 6 9 -2 7 0 ; fr o m N o teb o o k , " F ro m C h ica g o ," fo r c e and v ita lity of lif e , p. 23; lif e 's d eep im p r e s s io n s , p . 43; fr o m "A N ote on R e a lis m ," fa ith in lif e , p. 75; fr o m "A fter S e e in g G eo rg e B e llo w s' M r. and M r s. W a se," th e e a rth th e m e , w o rk w ith th e h an d s, p . 82; fr o m " I'll Say W e'v e D one W ell," p r o s e ly r ic is m at daw n, p. 91; fr o m "A M ee tin g South," the r iv e r at nigh t, p. 108. A nd fr o m F a u lk n e r 's S k e tc h e s , "H om e," lif e 's d eep im p r e s s io n s , p r o s e ly r ic is m a t du sk , p. 79; fr o m "Out of N a z a re th ," fa ith in lif e , p. 110; fr o m "The C o b b ler," l i f e ' s d eep im p r e s s io n s and the e a rth th e m e , p. 131; fr o m " C h an ce," u s e of a r c h a is m s , p. 140; fr o m "The Kid L earn s," the youn g g ir l a w a r e of lo v e , p. 163; fr o m "The L ia r , the t a ll ta le r e la te d to c o n v e r s a tio n s w ith A n d e r so n in N ew O r le a n s, p. 178; fro m S o l- , d ie r s' P a y , th e u s e of sk y, c lo u d s, and n a tu re, p . 58; youth and lif e 's c o rr u p tio n , d eath , and d e c a y , p. 66 ; a r c h a is m s , p . 74; th e e a r th th em e, pp. 1 7 6 ,'2 3 4 . M o sq u ito e s p r o lif e r a t e s w ith th e m o tif of th e r iv e r at n igh t, e .g ., pp. 8 2 -8 3 . •^ S h erw ood A n d e r so n , p. 160. 31 F a u lk n e r 's sk e tc h "T he Cop" a ls o is c h a r a c te r iz e d by a f i r s t - p e r s o n r e v e la tio n and a p r im e r - lik e s ty le not u n ak in to A n d e r so n 's 194 h is r e v ie w of A n d e r so n 's w o r k , r e f e r r in g to "I'm a F o o l" a s "the b e s t sh o r t s to r y in A m e r ic a " and d e s c r ib in g th e p ie c e as the ta le of a la d 's a d o le s c e n t p r id e in h is p r o fe s s io n (h o r se r a c in g ) and h is body, o f h is b e lie f in a w o r ld b ea u tifu l and p a s s io n a te c r e a te d fo r the c h o s e n ro r a c e h o r s e s on, of h is you th fu l p a g a n d e s ir e to p r e e n in h is la d y 's e y e s that b r in g s h im lo w at la s t . H ere is a p e r so n a l e m o tio n th at d o e s str ik e th e e le m e n ta l ch ord in m ankind . (P- 91) F a u lk n e r 's sk e tc h , lik e A n d e r so n 's s to r y , h u m o r o u sly r e v e a ls the p r id e of a youn g m an , J a c k P o tte r , a b so r b e d w ith th e w o r ld of h o r s e s , w ho t e lls h is sto r y in f i r s t p e r so n ; the v ie w p o in t is s k illfu lly h an d led s o a s to g iv e fu rth er p s y c h o lo g ic a l in sig h ts in to the c h a r a c te r of th e p e r s o n a -, n a r r a to r . P o tte r h a s the s a m e kind of sw a g g e r in g p e r s o n a lity and c a l lo w b e llig e r e n c e a s A n d e r so n 's p r o ta g o n ist. T h ere a re m o r e d e ta ile d s im ila r it ie s , to o . P o tte r , lik e A n d e r so n 's h e r o , m e e ts a g ir l in th e co m p a n y of h e r g ir lfr ie n d , and a ttem p ts to im p r e s s h e r b y sh ow in g off in the m o s t o b v io u s w ay; in both c h a r a c t e r s , th e tr a its of b r a s h n e s s and1 a r r o g a n c e b e c o m e p r is m s th rou gh w h ic h the r e a d e r s e e s th e m o r e b a s ic q u a litie s of you thfu l ig n o r a n c e , a r r o g a n c e , and in s e c u r ity . B oth s t o r ie s in v o lv e tw o c o u p le s w ho d o u b le -d a te; both h e r o e s tr e a t th e ir g ir ls to an e v en in g d an cin g at c a b a r e ts; and, fin a lly , both s t o r ie s f e a tu r e a h o r s e r a c e a s an im p o rta n t c e n tr a l a c tio n . In a g e n e r a l w a y th e c e n te r of a ctio n ab ou t a h o r s e r a c e , th e m eth o d of n a r r a tio n , and an oc-: c a s io n a l lin e su c h a s "a lit t le ch ild s h a ll b ea t th em to the w ir e . . ." (p. 94) a n ticip a te p a r ts of The R e iv e r s , w h ich in tu rn m a y s u g g e st the p o s - ; s ib ilit y of r e la tin g an A n d er so n in flu e n c e o v er the sp an of t h ir t y - s e v e n I y e a r s of F a u lk n e r 's lit e r a r y c a r e e r to h is la s t p u b lish e d n o v el; but th e j (pp. 45-46). 195 d iffe r e n c e s b e tw e e n th e e a r ly sk etch and the la s t m a jo r w o rk a re so v a s t a s to m ak e th e p oin t of h a r d ly m o r e th an p a s s in g in te r e s t. A ll th is is n o t to s a y th a t a c le a r lin e can be draw n b e fo r e w h ich F a u lk n er w a s e x p e r im e n tin g in e ffe c tu a lly w ith v a r io u s lit e r a r y t e c h n iq u es and a fte r w h ic h he aban doned th em and a ttem p ted to e m u la te A n d e r so n . F a u lk n e r 's N ew O rlea n s sk e tc h e s and p o e m s co n tin u ed to r e v e a l str o n g r e la tio n s h ip s w ith h is e a r lie r w o rk . P a s to r a l im a g e s of the M a rb le F au n r e a p p e a r in th e c h a r a c te r of the P r ie s t in "New O rlea n s" (" s ta r r y m ea d o w s . . . fa in t d ew ed g r a s s ," p. 39); in the C ob b ler ("the b e lle d flo c k s a m o n g the su n n y h ills lo n g a fte r th e v a lle y it s e lf w a s in shadow'." p. 43); and in "H om e," ("in th e m e a d o w s w h ere q u iet c a ttle g r a z e d or sto o d k n e e -d e e p in the w a te r," p. 79). S im ila r a s p e c ts of n a tu re a r e e ch o ed in "Out of N a za reth " ("how g r e e n the t r e e s w e r e , and th e g r a s s , and th e n a r c is s i and h y a cin th s lik e p o is e d d a n c e r s," p . 1 01 ); and e v e n m o r e s p e c if ic a lly in str ik in g a v ia n im a g e s ("the b rok en flig h t of g o ld en b ir d s ," p . 131, and "a b ird . . . lik e a b u zza rd , d raw ing en d l e s s b la c k c ir c le s on a blu e sk y ," p. 157). M o re c o n c is e r e la tio n s h ip s w ith th e M arb le F a u n can b e s e e n in co g n a te p h ra sin g ; to illu s t r a t e , the A r t is t in "N ew O rlea n s" s p e a k s in m o n o lo g u e of "th is d rea m w ith in m e in m a r b le " (p. 4 7 ), and in "T he L ia r," fo u r m e n s it on a p o r c h "in e a s y am ity" (p. 171), a fa m ilia r im a g e in n ot on ly the M arb le F au n , but a ls o a G reen B ou gh . F in a lly , s im ila r th e m a tic o v e r to n e s b e tw e en th e M a r b le F au n and th e sk e tc h e s a r e ev id en t. "D am on and P y th ia s U n lim ited " is c h a r a c te r iz e d b y F a u lk n er as n a r r a to r , w r itin g , "I p o n d ered on the m u ta b ility of m ankind" (p. 6 1 ). In " E p iso d e ," th e old m a n 's e x p e r ie n c e in v ie w in g life in co n d itio n s of both sig h t and b lin d n e ss r en d e r h im 196 " ca lm as a god w ho h a s s e e n both lif e and death and found n oth in g of p a r tic u la r im p o rta n c e in e ith e r o f th e m " - - a co n d itio n s u g g e stin g th at of th e so m n o le n t eq u a n im ity of the fau n at the en d of th e p o e m . T he c a ta le p s y of th e co u n try w ife p o sin g fo r S p r a tlin g 's sk e tc h is a s s o c ia te d , to o : "it w a s a s if so m e o n e had w h is p e r e d a su b lim e and c o lo s s a l joke in the e a r of an idol" {p. 19 0 ). T he e a r ly p o em "C athay" i s fa in tly e ch o ed in th e W ealth y Jew of "N ew O rlea n s" a s he r e f le c t s upon M an 's " D estin y , fo a m in g out of the E a s t w h e r e . . . c e n tu r ie s ago h is a n cien t P h o e n ic ia n a n c e s to r s b r e a s t e d th e u n ch a rted fa b u lo u s s e a s w ith tra d in g b a rq u es" (p. 37). The M is s is s ip p ia n p o em " N a ia d s' Song" is r e c a p itu la te d in the p e r s o n if ic a tio n o f " tr e e s . . . lik e p o is e d d a n c e r s" (p. 101). T h ere a re m a n y m ir r o r in g s of " N octurne" in th e s k e tc h e s , am on g th em the " cold s ta r s" (p. 38); a "flung r o s e . . . u n d er th e e v en in g sta r " (p. 43); "The s t a r s a re cold " (p. 44) of "New O rlean s" ; and "the c o ld , co ld s ta r s" (p. 157) of " S u n set." The im a g e of a g ir l " lik e m u s ic of a hu n d red fid d le s b e c o m e one w h ite and s c a r le t fla m e" {p. 133) in "T he C ob b ler," and "the hot b la c k g a ze . . . lik e a b la d e sp ittin g h im a g a in s t th e w a ll, lik e a pin ned m oth" (p. 181) in "The L iar" a r e im a g e s c lo s e ly c o r r e sp o n d in g to the e a r lie r " N octu rn e." The e m p h a sis on u n a ttr a c tiv e d e ta ils of s c e n e r y , Juan V en tu ria's "dum ped tr a s h and tin ca n s" {p. 123) in "T he R osa ry " r e c a p itu la te s th e ; 32 . I sa m e d e ta ils of F a u lk n e r 's e a r lie r p r o s e sk e tc h "The H ill"; and h is ; r e f e r e n c e to "the lu x u r ie s and v ic e s of an a g e as th e B a p tists te a c h us"; " ^ F or an a n a ly s is of "T he H ill" s e e Ch. V. 197 (p. 61) in "D am on and P y th ia s U n lim ited " h a r k s b a ck to F a u lk n e r 's d i s fa v o r "of s tr iv in g , of w h ip p ed v a n itie s . . . of th e d ry in g s p ittle of r e l i g io u s c o n tr o v e r s y " in "T he H ill." It is not s u r p r isin g th a t t r a c e s of F a u lk n e r 's a G r e e n Bough sh o u ld be p a r tic u la r ly e v id e n t in a n u m b er of th e s k e tc h e s , for by 1925 33 he had ju st p r e p a r e d the v o lu m e u n d er th e tit le of The G reen in g B o u g h . T h u s, M agd alen , a p r o s titu te in "N ew O rlea n s" r e la t e s h e r s to r y of sa d a g in g and r e g r e t: "m ayb e it s [ s i c ] I th a t ain t lik e I w a s o n ce" and " so m e tim e a th ou sa n d w o r m s , fe e d in g upon th is body w h ic h h as b e tr a y e d m e , fe e d in g , w ill liv e " (pp. 4 8 -4 9 ). She c o n c lu d e s w ith "W as th e r e lo v e o n ce? I h a v e fo r g o tte n h e r . W as th e r e g r ie f o n ce? Y e s, lo n g ago. A h, lo n g ago" (p. 49). P o e m X X X III of a G r ee n B ough, the th e m e of w h ic h is r e g r e t o r d ead lo v e , b e g in s w ith the sta n z a D id I know lo v e o n ce? W as it lo v e o r g r ie f, T h is g r a v e b o d y by w h e r e I had la in , A nd m y h e a r t, a sin g le stu b b o rn le a f T hat w ill not d ie , though r o o t and b ra n ch be sla in ? (p. 57) S im ila r ly , F a u lk n er in the sk e tc h of th e T o u r ist in "New O rlea n s" lik e n s th e c ity to "A c o u r te sa n " (p. 4 9 ) and h e r su r ro u n d in g s, w h ile p o e m XXXV of a G reen B ough b eg in s w ith "The c o u r te sa n i s dead, fo r a ll h e r su b tle w a y s" (p. 58), alth ou gh in th is la tt e r p oem th e c o u r te sa n p e r s o n ifie s the v a n ish in g o f w a rm s u m m e r a s " w in ter 's le a n c le a n r a in sw e e p s out h e r ro o m ." F in a lly , th e th em e of a ffir m a tio n th rou gh p r a is e i of th e e a r th 's r e fr e s h in g b ea u ty e x p r e s s e d in "Out of N a za reth " (pp. 33 F o r fu r th e r d e ta ils on th e c h r o n o lo g y of F a u lk n e r 's p o e tr y s e e Ch. II and Ch. VI. On T he G reen in g B ough s e e C o llin s, "About th e S k e tc h e s," p . 1 3. 198 1 0 6 -1 1 0 , a sk e tc h d e a lin g w ith a p o e t of th e ea rth ) is c o n d e n se d in p oem X L IV of a G reen B ough . F a u lk n er co n tin u ed to ap p ly the F r e n c h S y m b o list te c h n iq u e s e x h ib ite d in h is e a r lie r w o rk , e s p e c ia lly im a g e s in v o lv in g fa in t su g g e stio n , s y n e s th e s ia , m o tio n , c o lo r , and m u s ic . T hus in ’’M ir r o r s of C h a r tr e s S treet" one r e a d s of a p o lic e w a g o n at n igh t " cla n g in g am on g th e s h iv e r in g g o ld en w in g s of s t r e e t lig h ts" (p. 56); in "H om e" of a "sky . . . ru m o ro u s w ith dawn" (p. 79); in "T he R o sa ry " of a tu ne " s p illin g the d u sty sp a r r o w s tu m u lto u sly fr o m th e e a v e s" (p. 128), and in "C ountry M ice" of a c a r rid e th ro u g h the c o u n tr y sid e of L o u isia n a w h ich " ru sh ed by u s in a fr e tfu l, in d istin g u ish a b le green " {p. 194). E v en th e fa m ilia r th e m e s of the p a s t and the s tr u g g le to id e n tity w ith its a c co m p a n y in g te n s io n a l im a g e s a p p ea r aga in . In ad d itio n to th o se to u ch ed upon in m y r e la tin g of w hat a p p ea r s to be F a u lk n e r 's b io g r a p h ic a l a s p e c ts r e n d e r e d by A n d e r so n in "A M eetin g South" ( e s p e c ia l ly th e r e m a r k s on th e S ou th ern p o e t's " g r ea t g ran d fath er" ) and of the s k e tc h e s to th e M arb le F au n , "C athay," and " N aiad s' Song," one fin d s a d e s c r ip tio n of th e sta tu e of A n d rew J a ck so n p r e s e n te d in fa m ilia r c a ta le p tic im a g e r y in "Out of N azareth " : "he b e s tr o d e h is c u r ly h o r s e in t e r r if ic a r r e s te d m o tio n " (p. 101). A m o r e u n iv e r s a l p a s t and p r e s e n t v ie a s E a st and W est in "Yo Ho and Two B o ttle s of Rum " as "the E a st r a is e d its im p la c a b ility b o d ile s s a s m is t a g a in s t the W e st and c iv iliz a tio n and d isc ip lin e " (p. 2 1 9 ). It w o u ld be d iffic u lt to co n ten d that A n d er so n is th e d o m in atin g in flu e n c e in th e s e v e n te e n s k e tc h e s; nor do I w is h to s u g g e st th a t oth er in flu e n c e s a r e not o p e r a tiv e . One fin d s in n u en d oes of C erv a n tes' 199 R o sin a n te in th e r e m in is c e n c e o f th e B e g g a r in "N ew O rlea n s" : " T h e k n igh t s t i l l w o u ld r id e fo rth , but h is s te e d is o ld and n o t su r e of fo o t any m o r e " (p. 4 7 ). C o n ra d 's in flu e n c e a p p e a r s to be d e e p e r . T h ere a r e e c h o e s of " H ea rt of D a r k n e ss" in th e L o n g sh o r e m a n of "N ew O r le a n s" in su ch im a g e s a s "the g r e a t t r e e s s a ilin g lik e s h ip s up th e r iv e r s o f d a r k n e ss" (p. 4 4 ). But th e e c h o e s of "Youth" a r e e v e n str o n g e r in "Yo Ho and T w o B o ttle s of R um ," c o m m e n c in g e a r ly in th e sk e tc h w ith a r e f e r e n c e to the in e ffe c tu a l sh ip D ian a {p. 2 1 1 ), and, w h ich , a fte r e n c o u n te r in g d if f ic u lt ie s , " r o lle d and w a llo w e d on" (p. 2 1 9 ). The s h ip 's d e stin a tio n i s th e E a st: "out of C anton, bound fo r B angkok" (p. 2 1 4 ), and th e ly r ic is m of the a n tic ip a te d E a s t, a s it a p p e a r s to the W e s te r n e r , e c h o e s m e m o r a b le p o r tio n s of "Youth": T h ere is so m e th in g e te r n a l in th e E a s t , so m e th in g r e s ilie n t and y e t r o c k lik e , a g a in s t w h ic h th e W e s t e r n e r 's b r ie f th u n d er, h is p a s s io n a te , e ffic ie n t m e th o d s, a r e a s w in d . {p. 217) A g a in , M r. A y e r s lo o k e d fr o m fa c e to q u iet fa c e , r e m o te and e x p r e s s io n le s s a s s o m a n y id o ls . . ." (p. 217): th en "the E a s t r a is e d it s i m p la c a b ility b o d ile s s a s m is t a g a in s t th e W e st and c iv iliz a t io n and d i s c i p lin e . T h ey w e r e a ll goin g a s h o r e . . ." (p. 219); and "T he sun w a s r e d and im p la c a b le a s a fu rn a ce m ou th " (p. 2 2 0 ). One d is tin c tio n b e tw e e n th e tw o p ie c e s l i e s in the in to le r a b le n a tu r e of th e c a r g o e s of the s h ip s : in "Youth" it is a sm o k in g fr e ig h t in th e s h ip 's h o ld ; in F a u lk n e r 's s k e tc h it is th e p u tr efy in g b od y o f Yo H o. H o w e v e r , b oth fe a tu r e s s e r v e a s to u r de fo r c e f o c a l p o in ts ab ou t w h ic h the a c tio n r e v o lv e s , and b o th d e v ic e s a r e la d e n w ith e x p lo s iv e p o s s ib ilit ie s . H o u sm a n 's m a n n e r is s u g g e s te d in "H om e" w ith th e s e n te n c e , " T h in k in g, in d ee d , la y s la d s u n d ergrou n d " (p. 74); and th e S h r o p sh ir e L ad is m e n tio n e d as b e lo n g in g 200 to the n a tu ra l p o et and q u oted in "Out o f N a zareth " (p. 104). A fa in t h in t of im a g e r y fr o m the c h a p ter tit le d "Sunset" in M e lv ille 's M ob y~ D ick ca n be found in F a u lk n e r 's M a g d a len in "N ew O r le a n s." B oth A hab and M a g d alen a r e lo o k in g out w in d o w s, both have a ch in g h e a d s, and both r e f le c t upon th e ir youth in im a g e s of gold: M e lv ille F a u lk n er The gold b row p lu m b s the b lu e . . . . "God, the lig h t in m y e y e s , the 'T is ir o n . . . not g o ld . 1 T is s p lit, su n lig h t . . . c r a sh in g in m y p oor to o . . . . Oh', tim e w a s , w h en a s the h ea d . . . . I can r e m e m b e r w h en s u n r is e n o b ly s p u r r e d m e , s o th e I found d a y s gold, but now th e su n s e t so o th ed , ( it a lic s added) g o ld of d ay h u rts m y head." (p. 4 8 )(ita lic s added) S im ila r ly , O 'N e ill's Yank of th e H a iry A pe a n tic ip a te s F a u lk n e r ’s J e a n - B a p tiste in "H om e" w ith th e q u estio n : "How m u ch lo n g e r w ou ld h e be f r e e , to w a lk the e a r th . . . be u n ca g ed ? P e r h a p s to m o rr o w he w ou ld c la sp s t e e l b a rs lik e a ca g ed ap e, p a n tin g for fr e ed o m " (p. 75). S w in b u r n e 's d e v ic e s of a llu s io n and im a g e r y rea p p e a r in th e P r ie s t of "New O rlea n s" : "The tw ilig h t . . . s tir r in g am on g th e lila c s and sh a k in g sp ik e s of b lo o m , r in g in g th e s o u n d le s s b e lls of h y a c in th s d r e a m in g b r ie fly of L e sb o s . . . " (pp. 3 8 -3 9 ). But the g e n e r a l d ir e c tio n of A n d e r so n 's in flu e n c e on F a u lk n er, in a d d itio n to th o se s p e c if ic ite m s I h a v e noted , ca n be m o s t c le a r ly il- ! 34 lu s tr a te d in F a u lk n e r 's in c r e a s in g te n d e n c y to tu r n to p r o s e , to w r ite of fa m ilia r , d o w n -to -e a r th su b jec ts; and , ev en tu a lly , to r e tu r n to and fin d th e su b sta n ce of h is lite r a tu r e in h is own r e g io n , e v e n in h is own C o llin s, "About th e S k e tc h e s," p. 19, n o te s th at both A n d erson : and F a u lk n er " la ter r e p o r te d th at th e ir a s s o c ia tio n had tu rn ed F a u lk n er to w a rd fic tio n . ..." 201 lif e and fa m ily b a ck g ro u n d . T h e r e a r e s e v e r a l a s p e c t s of th e s k e tc h e s w h ic h a n tic ip a te th e s e e v e r - g r o w in g d e v e lo p m e n ts in F a u lk n e r 's w r itin g . T he m o s t o b v io u s p ie c e is "T he L ia r ," w h ic h I h a v e a lr e a d y m e n tio n e d a s a lo c a l c o lo r p ie c e r e la t e d to th e H a m le t. Tw o of the s k e tc h e s , "Out of N a z a re th " and " E p iso d e ," c o n s is t of f i r s t - p e r s o n r e p o r tin g ; and it is in th e f i r s t o f th e s e th a t one c a n s e e s p e c if ic t r a it s and la r g e r m o tifs w h ic h fo r e sh a d o w T he Sound and th e F u r y , L ig h t in A u g u st, and A F a - •2 C b l e . F in a lly , and of l e s s e r s ig n ific a n c e , J e a n - B a p t is t e 's r e f le c t io n in "H om e" on "the jo y h e h ad f e lt in h a n d lin g h ig h e x p lo s iv e in a s h e ll f a c to r y . . ." (p. 7 8 ) m a y r e v e a l a te n u o u s th r e a d of m u tu a l e x p e r ie n c e c o n n e c te d to F a u lk n e r 's e m p lo y m e n t in 1913 at the W in c h e ste r a r m s f a c to r y a t N ew H aven; and the k n o w led g e o f N ew H aven and Y ale w h ic h th e n a r r a to r r e v e a ls in " C ou n try M ice" h a r k s b a ck to F a u lk n e r 's r o o m - 36 in g w ith P h il Stone d u rin g th e s a m e p e r io d at N ew H aven. S o ld ie r s ' P a y w a s w r itte n in s ix w e e k s at th e u r g in g of A n d e r so n . T h u s, th e r e ca n b e lit t le d oubt th at A n d e r so n w a s a s tr o n g m o t i v a tin g fo r c e b eh in d F a u lk n e r 's lit e r a r y c r e a tio n . B oth th e le g e n d a r y and fa c tu a l in fo r m a tio n c o n c e r n in g th e p u b lic a tio n of th e b o o k by H o r a ce L iv e r ig h t, A n d e r s o n 's p u b lis h e r , b e a r out A n d e r so n 's in t e r e s t and 37 F a u lk n e r 's c lo s e c o n ta c t w ith h im e v e n m o r e . A s th e y h ad h a ile d ■ ^ C o llin s, "A bout the S k e tc h e s ," p p . 2 7 -2 8 , t r a c e s th e r e la t io n s h ip s . 3 £ * S e e Ch. I ll fo r fu r th e r d e ta ils on F a u lk n e r 's lif e d u rin g th is p e r io d . 3 7 F a u lk n er in " S h erw ood A n d e r so n ," A tla n tic , p. 2 9 , to ld a s to r y w ith th e kind of e x a g g e r a tio n he w a s fon d of: "I m e t h e r [E liz a b eth P r a ll A n d e r so n ] on th e s t r e e t . She c o m m e n te d on m y a b s e n c e . I s a id I w a s w r itin g a n o v e l. She a sk e d if I w a n te d S h erw o o d to s e e it. I 202 A n d e r s o n 's w o r k b e f o r e , c r i t i c s g r e e te d F a u lk n e r 's f i r s t n o v e l a s a 38 d is t in c t ly im p r e s s io n is t ic w o r k . P e r h a p s one of th e m o s t d ir e c t ly p r o m in e n t a d a p ta tio n s o f A n d e r s o n 's m e th o d s by F a u lk n e r in S o ld ie r s ' P a y w a s h is u s e of th e g ir l c h a r a c t e r w h o i s k e e n ly a w a r e of h e r s e x u a lit y and fr e e d o m . A n d e r s o n had g iv e n to s u c h c h a r a c t e r s a s p e c ia l k in d o f te n d e r n e s s and s e n s it iv it y , a kin d o f d r e a m y y e a r n in g fo r "a fa r o ff jo y and e v e n tu a l fu lfillm e n t" ; and y e t th e y h a v e " p a s s io n w ith o u t 3Q b od y, and s e x u a lity w ith o u t g a ie ty and jo y . . . ." 7 T h u s R o sa lin d of "Out of N o w h e re in to N oth in g" is v ib r a n tly a w a r e of h e r s e x a s sh e sta n d s nude: R o s a lin d 's c h e e k s w e r e flu s h e d . Sh e m a d e an odd and lo v e ly f ig u r e sta n d in g nude b e fo r e th e g la s s in h e r r o o m . . . . She w a s s o m u ch a liv e and y e t n o t a liv e . H er e y e s sh o n e w ith e x c it e m e n t. She c o n tin u e d to tu rn s lo w ly rou n d and rou n d . . . . She a ls o had fou n d out, s o m e th in g ab ou t l if e . H er b od y w a s s t i l l th e b od y of w h a t w a s c a lle d a v ir g in . . . . (pp. 2 0 4 -2 0 5 ) It is th ro u g h j u s t s u c h a d e e p c o n s c io u s n e s s of th e ir s e x u a l e x p e r ie n c e s th a t A n d e r s o n 's c h a r a c t e r s p e r c e iv e lif e an d it s r a m ific a tio n s.^ ® a n s w e r e d , I d o n 't r e m e m b e r e x a c t ly w h a t, but to th e e f f e c t th a t it w o u ld b e a ll r ig h t w ith m e if h e w a n te d to . She to ld m e to b r in g it to h e r w h e n I fin is h e d it, w h ic h I d id , in abou t tw o m o n th s . A fe w d a y s la t e r sh e s e n t fo r m e . She s a id , 'S h er w o o d s a y s h e ' l l m a k e a sw a p w ith y o u . He s a y s th a t if h e d o e s n 't h a v e to r e a d it, h e ' l l t e l l L iv e r ig h t . . . to ta k e it .'" A t a n y r a te , th e p u b lic a tio n of S o ld ie r s ' P a y w a s not th a t s im p le . S e e nn. 8 , 15 in th is c h a p te r . A ls o s e e A n d e r s o n 's le t t e r to H o r a c e L iv e r ig h t, d a te d A p r il 11, 1 9 2 6 , in L e t te r s of S h er w o o d A n d e r s o n , pp. 1 5 4 -1 5 5 , w h ic h in d ic a te s h is p e r s o n a l in t e r e s t in F a u lk n e r a s a w r ite r and h is co n tin u in g in flu e n c e w ith L iv e r ig h t on F a u lk n e r 's b e h a lf. ^ T h o m a s B oyd , S a tu rd a y R e v ie w of L it e r a t u r e , 2:7 36, A p r il 2 4 ,’ 1 9 2 6 . S e e a ls o S p r in g fie ld R e p u b lic a n , A p r il 4 , 196 2 , p . 7. • ^ L i o n e l T r illin g , " S h erw o o d A n d e r so n ," T h e L ib e r a l I m a g in a - : tio n (N ew Y o rk , 1 9 5 7 ), pp. 2 2 - 2 3 , 27. ^ ® L ew is M u m fo rd , T he G o ld en D ay (B o sto n , 1 9 5 7 ), p . 143. 203 F a u lk n e r 's ty p ic a l p o s t - w a r g ir l, th e C e c ily of S o ld ie r s ' P a y , b e c o m e s th e sa m e k in d of f ig u r e of d e s ir e , "the p r o to ty p e of th e m o d e r n fr e e d o m 41 o f th e s e x e s " : h e r la x h an d b e tw e e n th em g r e w a g a in lik e a flo w e r : it w a s a s if h e r w h o le b o d y b e c a m e h e r han d . The s y m b o l o f a d e lic a te , b o d y le s s lu s t . . . h e r b od y . . . c r u s h e d s o ftly ab ou t w ith h e r f r a g ile c lo th in g . H er lo n g le g s , n o t fo r lo c o m o tio n , but f o r th e s tu d ie d c o m p le tio n of a rh yth m c a r r ie d to it s nth: c o m p u lsio n o f p r o g r e s s , m o v e m e n t; h e r body c r e a t e d fo r a l l m e n to d r e a m a f t e r , {p. 22 4 ) T he s im ila r it y of th e tw o p a s s a g e s l i e s n o t so m u ch in th e p h r a s e o lo g y a s in the p u r p o se o f th e g ir l- c h a r a c t e r : in the w o r k of both m e n sh e is a b ro o d in g th in g , a s y m b o l r a th e r than s o m e o n e to b e r e m e m b e r e d fo r h e r s e lf , a sy m b o l o f a n ew ly in d ep en d en t, y o u th fu l d e s ir e , f r e s h ly e x p e r ie n c e d in th e n ew , u n r e s tr a in e d a tm o sp h e r e of in d ep en d e n c e it s e lf . E v e n w ith th e g e n e r a l c o g n a te s of th e m e , c h a r a c t e r iz a t io n ,‘and s ty le , th e A n d e r so n in flu e n c e o n S o ld ie r s' P a y is in d ir e c t r a th e r th an d ir e c t . O ne fin d s m o r e d ir e c t A n d e r so n in flu e n c e s in both M o sq u ito e s and S a r t o r is , th e l a s t of w h ich I s h a ll d is c u s s in C h ap ter DC. N e ith e r F a u lk n e r 's n o r A n d e r so n 's b io g r a p h e r s h a v e e v e r w o r k e d ou t in d e ta il A n d e r so n 's p a r t a s s o u r c e and in flu e n c e o f F a u lk - 42 n e r 's M o sq u ito e s (1 9 2 7 ). T he a c tio n d e a ls w ith a grou p of N ew O r le a n s a r t is t s of th e V ie u x C a r r £ w ho h a v e b e e n p e r s is t e n t ly h e r d e d a b o a rd th e N a u sik a a , th e y a c h t o f a s o c ia lit e M r s . M a u r ie r . A fiv e - d a y y v o y a g e o v e r L ake P o n tc h a r tr a in e n s u e s , d u rin g w h ic h th e a r t i s t s - - 41 M a x w e ll G e is m a r , W r ite r s in C r is is (B o sto n , 1942), p . 147. ^ N e w Y o rk . T he p o r tio n of the c h a p te r w h ic h fo llo w s r e la tin g to A n d e r so n and F a u lk n e r 's t a l l ta le h a s b e e n p u b lish e d w ith m in o r r e v is io n s an d so m e a d d itio n s in m y a r tic le " F a u lk n er , A n d e r so n , and T h e ir T a ll T a le ," A m e r ic a n L ite r a tu r e , 3 4 :2 8 7 -2 9 1 , M ay 1962. 204 w h o s e s p ir it is b e s t r e p r e s e n t e d by a fa m o u s w r it e r , D a w so n F a ir c h ild , and a ta c itu r n s c u lp to r , G o r d o n - - p e r s is t in b e in g ta r d y to m e a ls , r e m a in in g b e lo w d eck d rin k in g and p la y in g c a r d s , and b e in g a lto g e th e r u n c o - o p e r a t iv e w ith M r s. M a u r ie r , w h o y e a r n s to r e a liz e h e r p r e c o n c e iv e d n o tio n of w hat a y a c h t p a r ty sh o u ld b e . She fin a lly r e le n t s in h e lp le s s c o n fu sio n w h ile th e a r t grou p e n g a g e s in lo n g , s o m e t im e s - a m u sin g , a lw a y s - in t e r e s t in g c o n v e r s a tio n s . D u rin g th e fiv e d a y s the h o s t e s s ' s n ie c e d is a p p e a r s in a sw a m p w ith th e you n g ste w a r d , w h e r e th e y a r e s e t upon by flig h ts of m o s q u ito e s . T he n o v e l c o n c lu d e s in th e V ie u x C a r r e , w h e r e it b e g a n . T he m o s t o b v io u s A n d e r so n s o u r c e in th e n o v e l is th e c h a r a c te r D a w so n F a ir c h ild , of w h om S h erw o o d A n d e r so n is th e p r o t o t y p e .^ A s A n d e r so n w a s , F a ir c h ild is "an A m e r ic a n of a p r o v in c ia l m id w e s te r n lo w e r m id d le c la s s fa m ily " (p. 2 4 1 ). He d e s c r ib e s A m e r ic a n lif e "as A m e r ic a n lif e is" (p. 2 4 3 ). He i s "a m a n in a ll th e lu s t y p r id e of h is O hio V a lle y m a s c u lin ity " (p. 2 0 9 ). If th e fic tio n a l c h a r a c te r a g r e e s w ith the m o d e l, th en F a u lk n e r p o r tr a y s A n d e r so n a s a " n o v e lis t, r e se m b lin g a b e n e v o le n t w a lr u s to o r e c e n tly out of b ed to h a v e m a d e a to ile t" {p. 3 3 ), as h a v in g a " b u rly jo v ia l v o ic e " {p. 4 4 ), and a s n o t m in d in g th e h e a t: "I lik e it , in fa c t. L ik e an o ld r a c e h o r s e , y o u kn ow . H e 's w illin g en ou gh , y o u know , b u t in th e c o o l w e a th e r w h en h is m u s c le s a r e s tiff and h is b o n es a c h e , th e you n g o n es a ll sh ow h im up . But about F o u rth o f Ju ly, w h e n the su n g e ts h ot and h is m u s c le s lo o s e n up and ! h is old b o n e s d o n 't c o m p la in any m o r e , th en h e 's good as an y of 'e m ." (p. 49) ^ C o l l i n s , p . 18; C o w ley , p. 428; H ow e, p. 145; W ard L . M in e r , T he W orld o f W illia m F a u lk n er (N ew Y ork , 1952), p. 8 6 ; O 'C on n or, p. 32. 205 Such c o m m e n ts p ro b a b ly a re n ot in ten d ed a s a d isp a r a g e m e n t of A n d er son , but r a th e r g iv e a b a la n ce of r e a lit y and h u m an ity to the p o r tr a it. C o w ley p o s s ib ly had su ch p a s s a g e s in m in d w h en he m a in ta in e d th a t F a u lk n er s a t ir iz e d the lit e r a r y grou p of the V ieu x C a r re w hom h e knew in N ew O rlea n s (p. 428), but M in er w r o te th at th e r e is so m e good c r it i c is m of A n d e r so n as a w r ite r in M o sq u ito e s (p. 8 6 ), and Howe s a id that F a u lk n e r 's p o r tr a it of A n d e r so n is " m a in ly a ffec tio n a te" (p. 145). E v en though the r e s e m b la n c e s b e tw een F a u lk n e r 's F a ir c h ild and A n d er so n a r e c u r io u s ly s im ila r , p e r h a p s e v e n co n v in cin g , the t a ll- t a le e v id e n c e m a k e s A n d er so n an in d isp u ta b le in flu e n c e and so u r c e of m a te - f r ia l ex ten d in g beyond c h a r a c te r p a r a lle ls a lo n e . In 1953 F a u lk n er w ro te of the t a ll ta le s th a t he and A n d er so n had w o rk ed on to g e th er : D u rin g th o se a fter n o o n s w h en w e w ou ld w a lk abou t the o ld q u ar te r , I lis te n in g w h ile h e ta lk ed to m e or to p e o p le --a n y o n e , an yw h ere --w h o m w e w ould m e e t on th e s t r e e t s or th e d o c k s, o r the e v e n in g s w h ile w e s a t s o m e w h e r e o v e r a b o ttle , h e, w ith a lit t le h elp fr o m m e , in v en ted o th er fa n ta stic c h a r a c t e r s . . . . One of th em w a s su p p o sed to be a d e sce n d a n t of A ndrew J a c k so n , le f t in th at L o u isia n a sw a m p : a fter the B a ttle of C h a lm ette, no lo n g e r h a lf -h o r s e h a lf -a llig a t o r b u t. b y now h a lf-m a n h a lf-s h e e p and p r e s e n t ly h a lf-s h a r k , w h o- - it, the w h ole fa b le - - at la s t got so u n w ield y and (so w e th ou gh t) so fu n n y, that w e d e c id e d to g et it onto p a p er by w r itin g le t t e r s to one a n o th er s u c h j a s tw o te m p o r a r ily se p a r a te d m e m b e r s of an e x p lo r in g - - z o o lo g ic a l e x p e d itio n m ig h t. . . .4 4 (it a lic s added) In M o sq u ito e s F a u lk n er h ad F a ir c h ild t e ll th e fo llo w in g sto r y abou t so m e h a lf - h o r s e , h a lf -a llig a t o r c r e a tu r e s w h ich G en era l J a c k so n u se d in the b a ttle of N ew O r le a n s "down th e r e in th o se C h a lm ette sw a m p s" : "in so m e w a y the b r e e d got c r o s s e d w ith a llig a t o r s . And so . . . Old i H ick o ry . . . had 'em round up a s m an y of th o se h a lf -h o r s e h a lf - a lli- ; g a to r s a s th e y could, and he m o u n ted s o m e of h is in fa n try on 'e m and the B r itis h co u ld n 't sto p 'em a t a ll." (p. 6 8 ) 44 "Sherwood Anderson," Atlantic, p. 28. 206 L a te r in th e n o v e l, F a u lk n er w r o te , "O ld m a n J a c k s o n " - - F a ir c h ild c o n tin u e d -- " c la im s to b e a lin e a l d e s c e n d e n t of Old H ic k o r y . . . . he th ou gh t up th e id e a of ta k in g up so m e of th is L o u isia n a sw a m p la n d and r a is in g sh e e p on it. . . . th e sh e ep le a r n e d to sw im p r e tty w e ll. . . . F in a lly . . . C la u d e - -A l's b ro th er . . . w en t r ig h t in th e w a te r and g ra p p led fo r 'e m . . . . old m a n J a c k s o n quit th e sh e ep b u s in e s s and w en t to f is h ra n c h in g . . . . p r e tty s o o n [C lau d e] got to w h e r e h e 'd s ta y in th e w a te r a ll d a y . . . . C la u d e's e y e s . . . kin d of s h ifte d a rou n d to the s id e of h is h e a d and h is m o u th sp r e a d b a c k a good w a y , and h is te e th . . . got lo n g e r . . . . P r e tty s o o n a fte r th a t, th ou gh , th e r e w a s a sh a r k s c a r e at th e b a th in g b e a c h e s a lo n g th e G ulf c o a s t. It s e e m e d to be a lo n e sh a r k th a t k ep t an n o y in g w o m e n b a th e r s , e s p e c ia lly b lo n d es; and th e y knew it w a s C laude J a c k so n . H e w a s a lw a y s h e ll a fte r b lo n d e s." (pp. 2 7 7 -2 8 1 ) T h e re is n o m is ta k in g th e r e la tio n s h ip b e tw e e n fa c t and fic tio n , o r th at F a u lk n er m a d e u s e o f th is p a r tic u la r ta ll ta le , about w h ic h F a u lk n er w r o te , "h e [A n d er so n ] w ith a lit t le h elp fr o m m e , in v e n ted . ..." F a u lk n e r 's u se o f th is m a t e r ia l, w h ic h A n d e r so n u n q u estio n a b ly had a han d in , ta k e s A n d e r so n b ey o n d in flu e n c e or s o u r c e and v ir tu a lly in to th e r e a lm of c o lla b o r a tio n . The f o r c e of A n d e r so n 's g u id in g hand in th is p o r tio n of M o sq u ito e s i s b o rn e out fu r th e r by F a u lk n er a g a in , w h o w rote, i sp ea k in g o f th e le t t e r s cp n ta in in g th e t a ll ta le , th is e x ch a n g e of d ialogu e! b e tw e e n A n d e r so n and h im s e lf c o n c e r n in g F a u lk n e r 's r e p ly to A n d e r s o n 's f ir s t le tte r : He [A n d er so n ] s a id : - - " D o es it s a t is f y you?" I s a id , "Sir?" " A re you s a t is f ie d w ith it?" "W hy not?" I s a id . " I'll put w h a te v e r I le ft out in to th e n e x t one." T h en I r e a liz e d th at he w a s m o r e than d is p le a s e d : he w a s sh o r t, s t e r n , a lm o s t a n g ry . H e s a id : - - " E ith e r th ro w it aw ay, and w e 'll q u it, or ta k e it b a ck and do it o v e r ." I to o k th e le t t e r . I w o r k e d th r e e d ays o v e r it b e fo r e I c a r r ie d it b a c k to h im . He r e a d it a g a in , q u ite s lo w ly , a s h e a lw a y s did, and s a id , "A re y o u s a t is f ie d now ?" "No s ir ," I s a id . "B ut it ' s the b e s t I know h o w to do." " T h en w e 'll p a s s it," h e sa id , p u ttin g th e le t t e r in to h is p o c k e t, h is v o ic e on ce m o r e w a r m , r ic h , b u r ly w ith la u g h te r , r e a d y to 207 45 b e lie v e , r e a d y to be h u rt a g a in . F r o m th is p a s s a g e one m ig h t a s s u m e th at e v e n the p o r tio n s of the ta ll ta le w h ich F a u lk n er w r o te w e r e r e a d o v er and c r it ic iz e d by A n d erso n ; and in at le a s t th is p a r tic u la r c ir c u m s ta n c e r e v is e d b y F a u lk n er a t A n d e r s o n 's in s is t e n c e . The p r o b a b ility of S h erw ood A n d e r so n 's b ein g th e m o d el fo r D aw son F a ir c h ild is c o n s is te n t w ith the str o n g s u g g e stio n s of o th er p r o to ty p e s, to o , in clu d in g th o se b a s e d on th e c h a r a c te r s C o lo n el A y e r s; P e te ; and G ordon, th e d a rk ly b ro o d in g s c u lp to r , who s u g g e s ts F a u lk n er h im s e lf, h is m ed iu m a lt e r e d .^ O th er e le m e n ts of M o sq u ito e s c o u ld be r e la te d to th e in flu e n c e of A n d er so n , but th e s e a re quite g e n e r a l in n a tu re: the str a n g e co m b in a tio n o f th e r e a lis t ic , th e im p r e s s io n is t ic , the m y s t ic a l; ^ th e p s y c h o lo g ic a l in v e s tig a tio n s of h is c h a r a c t e r s ,^ n ot n e a r ly so p r e v a le n t in S o ld ie r s' P a y ; and is o la te d s e g m e n ts of s ty le su ch a s the u s e of sla n g and a r c h a is m s . But A n d e r so n w a s only on e in flu e n c e , a lb e it th e m o s t d o m in atin g on e. T h ere a r e o th er s in th is w o r k of F a u lk n e r 's fo r m a tiv e p e r io d to w h om c r it ic s h ave p o in ted , am on g th em A u b re y B e a r d s le y , J a m e s B ra n ch C a b ell, T. S. E lio t, A ld o u s H u xley, J a m e s J o y c e , H. L. M en ck en , ^ " S h e r w o o d A n d erso n ," A tla n tic , pp. 2 8 -2 9 . ^ C o l l i n s , pp. 2 2 -2 3 ; fo r th e c o m m e n t on G ordon, s e e B ea c h , p. 127, and O 'C onnor, p . 31. ■^See th e in tro d u c to r y q u otation of Joh n H u tch en s in S h erw ood A n d erso n , W in esb u rg , O hio (N ew Y ork, 1956), S ig n et e d ., p. 1. ^® H arry H an sen , quoted in S h erw ood A n d erso n , W in esb u rg , Ohio (N ew Y ork, 1956), S ig n et ed ., p. 1. 208 49 M ark T w ain, and O sca r W ild e. T h e m a tic a lly M o sq u ito e s , p e r h a p s m o r e th an its p r e d e c e s s o r , S o ld ie r s ’ P a y , la c k s the r ic h depth of lif e , th e tr a g e d y and lo v e ly e n ig m a of h u m an e x is t e n c e w h ich A n d e r so n p o r tr a y e d in W in esb u rg , T r i u m p h , and H o r s e s . F a u lk n er did , h o w e v e r , m a n a g e to e x p r e s s a h a u n t in g lo v e of th e so u th ern land , alth ou gh th e d ir e c tio n of h is th in k in g, at le a s t on th e s u r fa c e , w a s to w a r d s "a c y n ic a l d e sp a ir " (M in er, p. 122). The a c tio n , c h a r a c te r iz a tio n , and th e m e of M o sq u ito e s , d e sp ite its s a t ir ic a l e le m e n ts , sh ow th at th e author w a s s t ill id e n tify in g w ith the 50 w o r ld -w e a r y , s e n s it iv e young m e n of th e fin de sifecle tr a d itio n . B ut the fic tio n a l r e s o u r c e s of F a u lk n e r 's n o r th -c e n tr a l M is s is s ip p i a r e a , ^ C ow ley m e n tio n s A n d e r so n a lo n g w ith o th e r s , B a lz a c , C u m m in g s , D os P a s s o s , E lio t, F itz g e r a ld , F la u b e r t, H em in gw ay, H ou sm an , J o y c e , K e a ts, M a lla r m e , Sw in b u rn e, and W ild e, p. 4 2 8 . M in er, p. 16, in d ic a te s A n d e r so n 's in flu e n c e a s "B oth w r ite r and f r ie n d ," em p h a siz e s; E lio t's e a r ly p o e tr y , and adds the h is t o r ic a l p la y s of S h a k e sp e a r e . The: E lio t in flu e n c e in M o sq u ito e s is p r o b a b ly m o s t a p p a ren t in F a u lk n e r 's p a r a p h r a se of T he W a ste L a n d : "Sp ring and th e c r u e lle s t m on th s w e r e gon e, the c r u e l m o n th s, the w an ton s th a t b r e a k the fa t h y b ern a ta n t d u ll n e s s and c o m fo r t of T im e . . ." (p. 10). F r e d e r ic k L . Gwynn, " F a u lk n e r 's P r u fr o c k --a n d O ther O b se r v a tio n s," J o u rn a l of E n g lis h and G e r m a n ic P h ilo lo g y , 5 2 :6 3 -7 0 , Ja n u a ry 19 5 3 , h a s w o rk ed out so m e in t r i c a te p a r a lle ls b e tw e en F a u lk n e r 's M o sq u ito e s and E lio t's p o e tr y , w h ich a r e w o rth y of n o te. B ea ch , p . 163, n o te s a s im ila r it y b e tw e en F a u lk n e r , H en ry J a m e s , and J o sep h C on rad c o n c e r n in g th e ir e m p h a sis on th e p s y c h o lo g ic a l, alth ou gh th e e v id e n c e is l e s s o b v io u s in F a u lk n e r 's e a r ly w o r k s. F o r m e n tio n of o th er in flu e n c e s s e e G e ism a r , pp. 1 4 9 -1 5 0 ; Ruth Suckow , N ew Y ork W orld, Ju n e 12, 1 9 2 7 , p. 7. F o r th e s ty le of J o y c e s e e M o sq u ito e s , p . 4 7 , the p a s s a g e b e g in n in g " fool fo o l y o u have w o r k to do o c u r s e d of god c u r se d . ..." F o r th e T w ain in flu e n c e , c o m m o n to both A n d er so n and F a u lk n er , s e e p . 69, on w h ich F a ir c h ild s a y s , "And one d ay a chap ..." The T w ain in flu e n c e on A n d e r so n w o u ld m a k e a n i e x c e lle n t s o u r c e stu d y, e .g ., A n d e r so n 's "A M eetin g South" h a s a M is s is s ip p i R iv e r , a " N ig g er J im ," and an A unt S a lly . The c a r r y o v e r of th e h u m o ro u s e le m e n ts of T w a in 's w o r k in th at of F a u lk n er h a s b e e n n oted by W. M . F ro h o ck , The N o v el of V io le n c e in A m e r ic a (D a lla s, 1946), p . 161. O 'C onnor n oted th is in r e f e r e n c e to S o ld ie r s ' P a y , p . 33. 209 not the th e m e s of s o p h is tic a tio n fo r w h ich H u x ley w a s a lr e a d y fa m o u s, h ad b e e n o b se r v e d b y A n d er so n a s th e s tr o n g e s t p o te n tia l in F a u lk n e r . A s a c o n se q u e n c e , A n d e r so n to ld him : " Y ou 've got to o m u ch ta le n t. Y ou ca n do it too e a s y , in to o m a n y d iffe r e n t w a y s, if y o u 'r e n ot c a r e fu l, y o u 'll n e v e r w r ite a n y t h i n g . " A n d e r s o n to ld F a u lk n e r th a t a w r it e r "has f i r s t got to b e w hat he i s , w hat h e w a s b orn ," and "It dont m a tter w h e r e it w a s , ju st so y o u r e m e m b e r it and a in t a sh a m e d of it. B e c a u s e one p la c e to s t a r t fr o m is ju s t a s im p o rta n t as any o th er. Y o u 'r e a c o u n tr y boy; a ll y o u know i s th a t lit t le p a tch up th e r e in M is s is s ip p i w h e r e y o u s ta r te d fr o m . B u t th a t's a ll rig h t to o . I t's A m e r ic a too; p u ll i t out, a s lit t le and un k now n as it i s , and the w h o le th in g w ill c o lla p s e , lik e w h en y o u p r iz e a b r ic k out o f a w a ll. . . . A ll A m e r ic a a sk s i s to lo o k a t it and l i s t e n to it and u n d er stan d it if you c a n . Only . . . the im p o r ta n t th in g i s to b e lie v e in it e v e n if y ou dont u n d e rsta n d it , and th e n t r y to t e l l it, put it d o w n . B e c a u s e to m o r r o w A m e r ic a i s goin g to b e so m e th in g d iffe r e n t, so m e th in g m o r e and new to w a tc h and lis t e n to and tr y to u n d ersta n d ; and e v e n if you c a n t u n d e rsta n d , b e lie v e ." (p. 28) ( it a lic s added) B ut alth ough h e had le a r n e d a lo t fr o m A n d e r so n a s w r it e r , by th e s u m m e r of 1925 F a u lk n e r 's d r e a m th a t c a u se d h im to quit th e p o s t m a s te r s h ip at the U n iv e r s ity of M is s is s ip p i and le a v e O xford w a s s t ill > c a r r y in g h im fa r th e r fr o m , not c lo s e r to w h a t A n d e r so n r e f e r r e d to as "that lit t le p atch up th e r e in M is s is s ip p i." He had c o m e to N ew O r le a n s b e n t on g o in g to E u ro p e, an d he w o u ld go. F a u lk n e r and h is fr ie n d , th e a r t is t W illia m S p ra tlin g , w ith w hom h e w ou ld so o n c o lla b o r a te on S h erw ood A n d er so n and O ther C r e o le s , s a ile d fo r E u r o p e on J u ly 7 C O ab oa rd th e fr e ig h te r W est I v is . 51 F a u lk n er, "Sh erw ood A n d e r so n ," A tla n tic , p . 28. ^ C o l l i n s , "A bout th e S k e tc h e s," p . 31, C H A P T E R VIII SO L D IER S1 P A Y : D E TO U R THROUGH DECA D EN C E B a u d e la ir e w a s am on g the f i r s t F r e n c h w r it e r s to point ou t the v a g u e n e s s of the te r m d e c a d e n c e , c o m m e n tin g that it w a s "a v e r y co n v e n ie n t w o r d fo r ig n o ra n t p e d a g o g u es; a v a g u e w ord b eh in d w h ic h our L azin ess and la c k of c u r io s it y c o n c er n in g the la w s e e k s h e l t e r . R e m y de G ou rm on t w r o te in the P a r is of 1891 th at " a r tis ts and w r it e r s who f r e f u s e d to r ifle th e m a s t e r s w e r e b ra n d ed d e c a d e n ts o r s y m b o lis ts ," and ad d ed th at su ch c r it ic is m , c h a r a c te r iz e d b y the rid ic u lo u s a s s u m p tio n th a t lit e r a r y a r t w h ich did n ot im ita te th e e s ta b lis h e d m a s te r p ie c e s m u st n e c e s s a r ily h ave sp ru n g fr o m an a b n o rm a l s o u r c e , w as " th e dull r a ille r y of l e s s e r m in d s." It is tr u e , of c o u r s e , th at the la b e l o f d eca d en ce w a s o ften u s e d to d e n ig r a te a w r it e r 's p ro d u ctio n . H o lb ro o k J a c k so n in The E ig h te e n N in e tie s w r o te th at "A nything stran ge o r un- canny . . . w a s s w iftly la b e lle d fin de si& cle. ..." a te r m o ften u se d 1 In a le t t e r to J u le s Jan in , n o ted a s a n ep ig ra p h by R e m y de G ou rm on t in "Stephane M a lla r m e and the Id ea of D eca d en ce," D e c a d en ce and O ther E s s a y s on th e C u ltu re of I d e a s , tr a n s . W illiam A sp e n - w a ll B r a d le y (N ew Y ork, 1921), p. 139. D e ca d en ce and O th er E s s a y s . . ., p p . 1 4 6 -1 5 0 . 3" F in d e _ S if e c le --1 8 9 0 -1 9 0 0 " (N ew Y ork , 1925), pp. 1 9 -2 0 . A l- j b e r t J. F a r m e r , L e M o u v em en t E sth e tiq u e e t "D ecad en t" en A n g le te r re j I--1 8 7 3 -1 9 0 0 ( P a r is , 1931), n o te s , " C 'e st u n e e r r e u r de c r o ir e q u e la 'd e c a d e n c e' e s t s e u le m e n t 1'in s u r r e c tio n d 'u n e p o ig n ee d 'in te lle c tu e ls im m o r a lis t e s " (pp. 3 8 1 -3 8 2 ); th u s, "It is a m is ta k e to b e lie v e th a t the !'d e c a d e n c e' is o n ly the r e b e llio n of a handful of im m o r a l in te lle c tu a ls ." 210 211 in ter c h a n g e a b ly w ith d e c a d e n c e . D e ca d en ce w a s e m p lo y e d a s a lit e r a r y te r m a s e a r ly as th e 1 8 8 0 's and had a lr e a d y a c q u ir e d v a g u e m e a n in g s, h avin g b e e n u sed d e r o g a to r ily in at le a s t tw o s e n s e s : (1 ) " as a d e c lin e fro m w h a t w a s n a tu r a l, h e a lth y and v ig o r o u s in life" ; and (2 ) "as a l i t e r a r y s t y l e . T h u s » B a u d e la ir e1 s L e s F le u r s du M ai and H u y sm a n s' A R eb ou rs w e r e r e g a r d e d a s d eca d en t b e c a u se of th e su b ject m a tte r th ey tr e a te d . T h ose w ho co n d em n ed F le u r s du M ai w e r e often m o r a l e s p r it s s im p lis t e s and had o v e r s im p lifie d th e ir v a lu e s to th e e x te n t th at th e y cou ld a p p r e c ia te n e ith e r th e w o r k 's " to rm en ted c o n s c ie n c e " n or its "beauty o f la n g u a g e" (G aunt). In a s e c o n d s e n s e of the w o rd , d eca d en ce w as u s e d to in d ic a te a s ty le , a " su g g e stiv e p o w er of w o r d s. ..." A nd y e t the te r m w a s n ot e m p lo y e d w ith any c o n s is t e n t s t r ic t n e s s of m e a n in g. E v e n though it w a s a p p lied w ith d isa p p r o v a l to the d e c a d e n ts th e m s e lv e s , th e y o ften u s e d it out of a kind of p e r v e r s e b ra v u ra fo r its sh o c k e ffe c t. V e r la in e w r o te , I lo v e th is w o rd d e c a d e n c e , a ll sh im m e r in g in p u rp le and g o ld . It s u g g e s ts th e su b tle th ou gh ts of u ltim a te c iv iliz a tio n , a h igh l i t e r a r y c u ltu re a so u l ca p a b le of in te n se p le a s u r e s . It th r o w s off b u r sts of f ir e and th e sp a r k le o f p r e c io u s s to n e s . It is r e d o le n t of th e ro u ge of c o u r te s a n s , th e g a m e s of the c ir c u s , th e pan ting of th e g la d ia to r , th e sp r in t of w ild b e a s t s , the c o n su m in g in fla m e s of r a c e s e x h a u ste d by th e ir c a p a c ity fo r se n sa tio n , a s the tru m p of an in v a d in g e n e m y so u n d s, (in G aunt) T hus, d e c a d e n c e e a r ly co u ld have m e a n t e ith e r a sh a m e fu l d e c lin e of w hat is w h o le s o m e , or a fla m b o y a n t p en n on of w ic k e d n e s s -- b o th e q u a lly vagu e and in ch o a te co n n o ta tio n s, and c e r ta in ly in no d e g r e e s a tis fy in g d e fin itio n s . 4 W illia m G aunt, The A e s th e tic A d v en tu re (New Y ork , 1945), pp. 140-141. 212 N o doubt F a u lk n e r 's e a r ly p r o s e and p o e tr y ow e much, to th e fin C de sife cle , o r , m o r e a c c u r a te ly , th e d eca d en t tr a d itio n , but e x a c tly w hat th at tr a d itio n is r e q u ir e s so m e r e v ie w . O nce that is d on e, the id e a of d e c a d e n c e and F a u lk n e r 's e m p lo y m e n t of so m e of its v a r io u s a s p e c t s sh o u ld s e r v e to illu m in a te in n ew w a y s the m ea n in g of h is f ir s t n o v e l, S o ld ie r s' P a y , its sig n ific a n c e a s a p h ase of h is lit e r a r y d ev e lo p m e n t d u rin g th e p e r io d of its c o m p o s itio n in 192 5, and its r e la tio n s h ip to the Y oknapataw pha sa g a and to F a u lk n e r 's m a tu r ity as a lit e r a r y a r t is t . B eg in n in g w ith E d g a r A lla n P o e , O sc a r C a r g ill h a s tr a c e d the d eca d en t m o v e m e n t, m e n tio n in g th e c h a r a c t e r is tic s of e g o tis m , o b sc u r i ty , n e c r o p h ilia (" lu st fo r th e b o d ie s of the d ead ," or an e m p h a sis upon d eath it s e lf ) , p e r v e r s e n e s s , a r t if ic ia lit y , and s y n e s th e s ia as a c o n s c io u s ly e m p lo y e d lit e r a r y d e v ic e . In an e a r ly a p p lic a tio n of th e te r m , T h eop h ile G a u tier dubbed B a u d e la ir e a "po&te de d e c a d e n c e " and lik e n ed h im to the L atin p o e ts of R o m e 's d eclin e/* P o e 's in flu e n c e on B a u d e la ir e 's F le u r s du M ai h a s b e e n a tte s te d to by th e la tt e r 's r e m a r k a b le tr a n s la tio n of P o e 's c o m p le te w o r k s. M en tion in g th e w r it e r s who m e t at th e C hat N oir (n am ed fo r P o e 's sh o r t sto r y ) and A n atole B aju, fo u n d er o f th e lit e r a r y r e v ie w L e D eca d en t, C a r g ill adds that P a u l ^ W illiam V an O 'C onn or, The T an gled F ir e of W illia m F a u lk n er (M in n ea p o lis, 1954), p. 28. ^*In In te lle c tu a l A m e r ic a (N ew Y ork, 1941), pp. 1 8 5 -1 9 6 . F a r m e r ■relates d e c a d e n c e to the R o m a n tic m o v e m e n t in th is fa sh io n : "Sur c et clge in g r a t, l e s d e sc e n d a n ts s p ir itu e ls de la sec o n d e g e n e ra tio n r o m a n - tiq u e v o n t b ien tS t p r e n d r e une iro n iq u e, un e e c la ta n te rev a n ch e" (p. 33); th u s, "On a cco u n t of th a t u n fru itfu l a g e , th e sp ir itu a l d e sc e n d a n ts of the sec o n d r o m a n tic g e n e ra tio n w e r e going so o n to tak e an ir o n ic , a b r il lia n t r e v e n g e ." 213 V e r la in e and A rth u r R im baud " are th e on ly D eca d en ts w ho su r v iv e d th e death of th e ir r e v ie w ." T he d eca d en t m o v e m e n t e v e n tu a lly m in g led w ith the F r e n c h S y m b o list m o v e m e n t th rou gh Stephane M a lla r m e , w ho e s t a b lis h e d h is le a d e r s h ip w ith h is m a s te r p ie c e L 'A p r e s -m id i d'un Faune 7 s (1876), F in a lly , J o r is - K a r l H u ysm an s w ith A R eb ou rs (1 8 8 5 ), alth ou gh the in ten d ed e ffe c t of the b ook w a s to s a t ir iz e th e d e c a d e n ts, p a r a d o x i c a lly h e ig h ten ed in t e r e s t in the m o v e m e n t and in s p ir e d su c h w o rk s a s W ild e's The P ic tu r e of D o ria n G ray (1 8 9 1 ). But th e m a jo r in flu e n c e s ca m e fr o m F r a n c e , b eg in n in g w ith G a u tie r 's M a d e m o is e lle de M aupin (1835), th e P r e fa c e of w h ich illu s t r a t e s th e w r it e r 's c r e e d of " l'a rt p o u r 8 s l'a r t," and en d in g w ith A R e b o u r s. The n a tiv e E n g lish in flu e n c e on th e d eca d en t m o v e m e n t w as of a r e la t iv e ly m in o r n a tu re, c o m in g fro m th e p r e -R a p h a e lite s , and m o r e p a r tic u la r ly fr o m th e p o e tr y of D ante G a b r i e l R o s s e t t i and Swinburne.*^ H o lb rook J a c k so n m a in ta in s th at the d e c a dent m o v e m e n t c lo s e d in E n glan d w ith W ild e's D oria n G ray and A u b rey B e a r d s le y 's U n d er the H ill (J a ck so n ). An " o rg a n ic" ap p ro a ch to lit e r a r y d e c a d e n c e , r e la te d to the h is t o r ic a l c o n c ep t of c iv iliz a tio n s ' b e in g b orn , m a tu rin g , and dying, is F a r m e r su p p o rts th is con ten tion : " N otre p e r s p e c tiv e d 'a u jo u r - d'hui a red u it c e s m a n ife sta tio n s & le u r s ju s te s p r o p o r tio n s. Le 'd e c a - ; d ism e ' n 'a etd , on s 'e n a p e r q o it, qu'un in c id en t dans le d e v e lo p p e m e n t du s y m b o lis m e , a v e c le q u e l il a fin i du r e s te p a r s e con fon d re" (p. iv); th u s, "Our p e r s p e c tiv e of tod ay h a s r ed u c ed th e s e m a n ife sta tio n s to S th e ir ju st p r o p o r tio n s. T he 'd e c a d e n c e' had b een , one d is c o v e r s , but anj in c id e n t in the d ev e lo p m e n t of sy m b o lis m , w ith w h ich it en d ed by m in g lin g its e lf." ^A ndre M a u r o is, "Le P o r tr a it De D o ria n G ray," E tu d es A m e r i- : icaines (New Y ork , 1945), p. 70. ^ H olbrook J a ck so n , The E ig h te e n N in e tie s (N ew Y ork , 1925), pp. 57-59. 214 in te r e s tin g to sp e c u la te upon, but m is le a d in g . It is tru e th a t G autier w r o te of d e c a d e n c e a s ,T a r t a r r iv e d at th at p o in t of e x tr e m e m a tu r ity y ie ld e d by th e sla n tin g su n s of a g e d c iv iliz a tio n s ," and th at th e "aged c iv iliz a tio n " co u ld p o s s ib ly be in te r p r e te d as th e F r e n c h E m p ire a l r e a d y on the v e r g e of r u in , a kin d of e s th e tic h a r b in g er of th e F r a n c o - G erm a n W ar of 1870 w h ic h w a s to e n fo r c e the p r e v a ilin g n otio n th a t th e N o r d ic r a c e s , s o p la u sib ly r e p r e s e n te d by the you th fu l G erm a n n ation , w e r e to d is p la c e in the su n the L a tin , now b e c o m e s e n ile and b a r r e n . {C a r g ill, pp. 1 8 5 -1 8 6 ) In r e f e r r in g to th e b a r r e n n e ss of the F r e n c h lit e r a r y p e r io d fro m R a cin e to V igny, h o w e v e r , R em y D e G ourm on t h y p o th e siz e d , w e sh ou ld n ot go fu r th e r th an th e fa c t it s e lf , or a ttrib u te to it an a b su r d c h a r a c te r of lo g ic and n e c e s s it y . P o e tr y w a s a s le e p in the e ig h te e n th cen tu ry , th rou gh la c k of p o e ts . . . . If w e c a ll it d e c a d e n c e , w e a d m it th e e x is t e n c e of a s o r t of m y s te r io u s o r g a n is m - - a b ein g , a w o m a n - -P o e tr y --w h o is b orn , b r in g s fo r th , and d ie s at a lm o st r e g u la r in te r v a ls , a fte r th e m a n n er of hum an beings.-*-^ The d eca d en t m o v e m e n t h a s b een r e la te d to the R o m a n tic m o v e m e n t w h ich daw ned w ith th e c lo s e of the e ig h te e n th cen tu r y . It w a s th e m o r ta l r ip e n in g of th a t flo w e r w h ich b lo s s o m e d upon th e r u in s of th e F r e n c h R e v o lu tio n , h e r a ld in g not on ly the r ig h ts of m a n , w h ich w a s an a b s tr a c tio n sa v o u r in g m o r e of th e c la s s ic id e a l, but th e r ig h ts of p e r s o n a lity , of u n iq u e, v a r ie d and v a r y in g m e n . It w a s n e ith e r R om a n tic n o r C la s s ic , fo r " its e x is t e n c e in s o fa r a s it w a s d ep en d en t upon e ith e r of th o s e a rt tr a d itio n s w a s d ep en d en t upon both" (J a ck so n , p. 57). H o lb ro o k J a c k so n g r a n ts th e h isto r io g r a p h e r h is rig h t to m a in ta in th at su c h o u tb rea k s of c u r io s ity and e x p a n sio n a s th o se of th e 1890 's "are the r e s u lt of d eca y , a sig n of th e w o r ld g ro w n b la s e , tir e d , p la y e d out"; but, on th e oth er hand, ^ D eca d en ce and O ther E s s a y s . . ., pp. 1 4 4 -1 4 5 . 215 it sh o u ld n ot be fo r g o tte n th a t th e e ffo r t d em a n d ed by e v e n th e m o s t : ill- d ir e c t e d p h a s e s of d e c a d e n t a c tio n s u g g e s ts a liv e lin e s s o f e n e r g y w h ic h i s qu ite c o n tr a r y to th e tr a d itio n of s e n ile d e c a y . D u rin g th e E ig h te e n N in e tie s su ch l iv e lin e s s w a s o b v io u s to a ll, and e v e n in its d e c a d e n t p h a s e s th e p e r io d p o s s e s s e d to n ic q u a litie s . . . . T ru e d e c a d en ce w a s th e r e fo r e d e g e n e r a tio n a r is in g not out of s e n ilit y , fo r th e r e is n oth in g o ld u n d er th e sun, b u t out of s u r f e it , out o f th e e a s e w ith w h ic h lif e w a s m a in ta in e d and d e s ir e s s a t is f ie d , (p. 6 5 ) (it a lic s added) T hus w e fin d str o n g d is tin c tio n s b e tw e e n th e p o lit ic o - h is t o r ic a l u n d e rsta n d in g of d e c a d e n c e , and th e e s t h e t ic or l it e r a r y c o n c e p t of d e c a d e n c e . G ou rm on t m a in ta in e d th at h is t o r ia n s a d m itte d no o th e r id e a o f d e c a d e n c e th an th a t of " n a tu ra l d ea th ." In sh o w in g how th e tw o id e a s , d e c a d e n c e and the d ea th of a r t, co u ld b e f a ls e ly a s s o c ia t e d an d a c c u r a te ly d is a s s o c ia t e d , h e p o in te d out th e p a r a d o x th at it w o u ld be " n e a r e r th e tru th to s a y th at p o lit ic a l d e c a d e n c e is th e co n d itio n m o s t fa v o u r a b le fo r in t e lle c tu a l flo w e r in g " ( it a lic s a d d ed ):^ It is w h en a G u sta v u s A d o lp h u s and a C h a r le s X II a r e no lo n g e r p o s s ib le , th a t an I b s e n and a B jd r n so n a p p e a r . . . . G oeth e w a s the l^ T h is p a r a d o x is r e la t e d to G o u rm o n t's w e ll-k n o w n e s s a y , "T he D is a s s o c ia t io n of Id e a s," D e c a d e n c e and O th er E s s a y s . . ., p p . 3 -3 5 . D ated N o v em b er, 1 8 9 9 . th e e s s a y h a s th e s e m a n tic t h e s is th a t fo r c e d r e la tio n s a r e s o m e t im e s a b su r d . He p o in ts out, fo r e x a m p le , th a t e d u c a tio n and in t e llig e n c e ca n be f a ls e ly a s s o c ia t e d , th a t e d u c a tio n m a y "blunt" r a th e r th a n s tim u la te in t e llig e n c e , and y e t th e s e tw o a s s o c i a tio n s h a v e b e c o m e " v e r ita b le c o m m o n p la c e s --t r u th s w h ich it i s a s u s e -; l e s s to e x p o s e a s to c o m b a t. T h ey ta k e th e ir p la c e w ith a ll th o s e w h ich ; in fe s t b o o k s and th e d e g e n e r a te lo b e s o f m a n 's b r a in - - w it h o ld and v e n -j e r a b le tr u th s lik e : v ir t u e - r e c o m p e n s e , v ic e -p u n is h m e n t, G o d -g o o d n e ss,; c r im e - r e m o r s e , d u ty -h a p p in e s s , a u t h o r ity -r e s p e c t, u n h a p p in e ss-p u n ish m e n t, f u t u r e - p r o g r e s s , and th o u sa n d s o f o th e r s , so m e o f w h ic h , though a b su r d , a r e u s e fu l to m an k in d " (p. 34). C a r g ill in I n te lle c tu a l A m e r ic a r e f e r r e d to G ou rm on t a s a " lic e n s e r of D e c a d e n c e an d c o in e r I of p a r a d o x e s . . . . T he v e r y v ig o r of a s in g le e s s a y , 'T h e D is s o c ia t io n o f Id e a s,' m a k e s L a C u ltu re d e s Id ees an o u tsta n d in g b ook o f ou r tim es,';' fo r in it h e " fu r n ish e d fu tu re g e n e r a tio n s w ith a c r it e r io n fo r d e te c tin g ; e s t a b lis h e d fa ls e h o o d s : 'A tr u th is d ea d w h en it h a s b e e n sh o w n th at th e j r e la tio n s b e tw e e n th e e le m e n ts a r e h a b itu a l and n o t n e c e s s a r y '" (pp. 2 2 4 -2 2 5 ). 216 c o n te m p o r a r y o f h is c o u n tr y 's ru in . . . . B ut h o w ev er d eb a ta b le, or at l e a s t h o w e v e r v a g u e, it m a y b e, th e g e n e r a l id e a of d e c a d e n c e i s c le a r and d is tin c t c o m p a r e d w ith th e m o r e r e s t r ic t e d n o tio n of lit e r - j a r y d e c a d e n c e . (G ou rm ont, pp. 1 4 2 -1 4 3 ) i C o n cern in g lit e r a r y d e c a d e n c e A rth u r S y m o n s, the le a d in g in t e r p r e t e r of the d e c a d e n c e in E n g lish lit e r a tu r e , w r o te in 1 8 9 3 that th e m o v e m e n t in v o lv ed an in te n se s e lf - c o n s c io u s n e s s , a r e s t l e s s c u r io s ity in r e s e a r c h , an o v e r - s u b t ilis in g r e fin e m e n t upon r e fin e m e n t, a s p ir itu a l and m o r a l p e r v e r s it y . If w h a t w e c a ll the c l a s s i c is in d ee d the su p r e m e a r t - - th o s e q u a litie s of p e r fe c t s im p lic it y , p e r fe c t sa n ity , p e r f e c t p r o p o r tio n , the su p r e m e q u a lit ie s - - t h e n th is r e p r e s e n ta tiv e lit e r a tu r e of to - d a y , in te r e s tin g , b e a u tifu l, n o v e l a s it is , is r e a lly a n ew and b e a u tifu l and in t e r e s t in g d i s e a s e d (it a lic s added) L a te r , h o w e v e r, in th e " D ed ication " to T he S y m b o list M o v em en t in L it e r a t u r e , S ym on s, if in d eed h e did not r e v e r s e h im s e lf, at l e a s t took a m ild e r v ie w to w a r d the d e c a d e n ts, w r itin g of th e m o v e m e n t a s " s o m e thing w h ic h is v a g u e ly c a lle d D e c a d e n c e ," a te r m often u s e d a s a r e p r o a c h or a d e fia n c e . A s a m a tter o f fa c t th e te r m is in it s p la c e o n ly w hen a p p lie d to s t y le , to that in g e n io u s d e fo r m a tio n of the la n g u a g e, in M a lla r m e , fo r in sta n c e , w h ic h ca n be c o m p a r e d w ith w h a t w e a re a c c u sto m e d to c a ll the G r e e k and L a tin of the D e c a d e n c e . ^ H olb rook J a c k so n to o k is s u e w ith S ym on s' in c o n s is te n c y and sta te d th a t the tr u th of the m a tte r of d e c a d e n c e p ro b a b ly l i e s s o m e w h e r e b etw een h is sta te m e n t in h is e s s a y of 1893 and the la t e r d e d ic a to r y sta te m e n t in The S y m b o list M o v em en t. W hat w as " r e a lly d e c a dent" in the 1890 's w e e d e d i t s e lf out w ith 1 z N oted b y J a ck so n , p . 55. O r ig in a lly p u b lish e d in "T he D e c a dent M o v em en t in L ite r a tu r e ," H a r p e r 's N ew M on th ly M a g a z in e , N o v e m b e r 1893, p p . 8 5 8 -8 6 7 . 1 ^ N oted b y J a c k so n , pp . 5 5 -5 6 . 217 m e r e t r ic k s o f s ty le an d id io s y n c r a s ie s of s e n s a t io n . . . b u t . . . th e te r m h a s c o m e to sta n d fo r a d e fin ite p h a se of a r t is t ic c o n s c io u s n e s s , and th a t p h a se i s p r e c i s e l y w h a t A r th u r S y m o n s d e s c r ib e d i t to be in h is e a r l i e r a r t ic le , an e n d e a v o u r "to f ix th e l a s t fin e sh a d e , the q u in te s s e n c e of th in g s; to fix it fle e tin g ly ; to be a d is e m b o d ie d v o ic e , and y e t th e v o ic e of th e h u m a n s o u l; th a t i s th e id e a l of D e c a d e n c e ." (pp. 5 6 -5 7 ) J a c k s o n fu r th e r e m p h a s iz e d th a t th e fin de sife c le lit e r a t u r e w a s "not e n t ir e ly d e c a d e n t and h o p e le s s ." On th e c o n tr a r y , " d e c a d e n c e w a s o ften d e c a d e n c e in n a m e only" an d " w ould h a v e b e e n b e tte r n a m e d r e g e n e r a tion " ; fo r it w a s a tim e of v it a lit y , to o , in w h ic h lit e r a t u r e w a s o fte n in o p p o sitio n to " id e a s and c o n v e n tio n s w h ic h had c o m e to be a c c e p te d a s r e la t iv e ly p e r m a n e n t" (pp. 1 9 -2 0 ). T h u s, d e c a d e n c e w a s a k in d of J a n u s - fa c e d a n o m a ly : E n fa it , la " d e c a d e n c e " o ffr e un d ou b le a s p e c t: e lle e s t la f o is une fin e t un c o m m e n c e m e n t. E lle m a r q u e b ie n un t e r m e e n c e s e n s q u 'e lle c l 6t un Sge q u i, d e p u is lo n g te m p s ddjel, t r a h is s a it u n e c e r - ta in e la s s it u d e , s e m b la it m a r c h e r v e r s 1'd p u is e m e n t. M a is e lle e s t a u s s i un p o in t de d d p a rt, e t il s e m b le que c e s o it la s a v e r it a b le s i g n ific a tio n . L a lu tte c o n tr e le v ic t o r ia n is m e a fa it a p p a r a itr e 1 'e tr o i-; t e s s e d e s v i e i l l e s f o r m u le s , tr o p d tr iq u e e s p o u r rd p o n d re au x a s p i r a tio n s d e s te m p s n o u v e a u x . P e u k p eu , l e s e c r iv a in s s e d e g a g e n t de; l'e m p r is e du p a s s d 1 , p o u s s d ’s p a r l e b e s o in d e d e c o u v r ir d 'a u tr e s v o ie s . D e s d o c tr in e s e m e r g e n t, d if f u s e s , flo t ta n t e s e n c o r e , m a is qui: la is s e n t e n tr e v o ir l ' a r t de l ' a v e n ir .^ ( it a lic s ad d ed ) F a r m e r , p. 384; th u s, "In f a c t , th e 'd e c a d e n c e ' o ff e r s a d ou b le a s p e c t: it i s a t o n c e an e n d and a b e g in n in g . It m a r k s w e ll an en d in the s e n s e th a t it c l o s e s an a g e w h ic h , f o r a lo n g tim e a lr e a d y , b e tr a y e d a c e r t a in la s s it u d e , w h ic h s e e m e d to m o v e to w a r d e x h a u stio n . B ut it i s a ls o a p o in t of d e p a r tu r e , an d it s e e m s th at w o u ld b e it s tr u e s ig n if i c a n c e . T he fig h t a g a in s t V ic to r ia n is m r e v e a le d th e n a r r o w n e s s of it s o ld fo r m s , to o c u r ta ile d to r e s p o n d to th e a s p ir a tio n s of th e n ew t im e s . ■ L ittle b y li t t l e , th e w r it e r s d is e n c u m b e r e d t h e m s e lv e s fr o m th e e f f o r t i o f th e p a s t, c o m p e lle d b y th e n e e d to d is c o v e r n ew p a th s . D o c tr in e s e m e r g e d , d iffe r e n t, a flo a t a n c h o r le s s ly , but w h ic h a llo w e d a g lim p s e o f : th e a r t of th e fu tu r e ." G aunt, p . 2 5 9 , g iv e s a d iffe r in g t h e s is o f th e " a e s th e tic m an " of : th e fin de s ife c le , sa y in g th a t he w a s in d iffe r e n t to " r e lig io n , m o r a lit y , e d u c a tio n , p o lit ic a l p r in c ip le , or s o c i a l im p r o v e m e n t." He c u ltiv a te d l' a r t p ou r 1' a r t j u s t a s " th e e c o n o m ic m an " h a d " m a d e p o lit ic a l e c o n o m y in to a s c ie n c e w ith i t s ow n la w s in th e e a r ly n in e te e n th c e n tu r y ." 218 T he l i s t of c h a r a c t e r is t ic s o f th e d e c a d e n t m o v e m e n t c o u ld be e x te n d e d , b u t m y p u r p o se is n o t to b e in c lu s iv e . R a th e r , I h a v e t r ie d to sh ow th e v a g u e n e s s of the te r m ; to e x p o s e it s v a r io u s in te r p r e ta tio n s , e s p e c ia lly th o se w h ic h a r e e x tr e m e and in a c c u r a te ; and to c la r if y th e te r m a s m u c h a s p o s s ib le in a fe w w o r d s. F in a lly , it i s m y in te n tio n to sk e tc h in s o m e of th o se c h a r a c t e r is t ic s w h ic h a r e b oth g e n e r a lly a c c e p te d and fu n c tio n a lly r e la t e d to F a u lk n e r 's f ir s t n o v e l. A m on g th em a r e th e fo llo w in g : 1. a th e m a tic q u e stio n in g o f V ic to r ia n o p tim ism a c c o m p a n ie d by a s p ir itu a l and m o r a l d is illu s io n m e n t, r e b e llio n , p e r v e r s e n e s s , an e m p h a s is on p le a s u r e and death ; 2 . a m o c k e r y of s e n tim e n ta lity and an e x a lta tio n of fe m in is m , "the n ew w om an"; T he m o v e m e n t w a s " o p p o sed and o ffe n s iv e to V ic to r ia n id e a lis m ," th e e s s e n c e o f w h ic h w a s s o c ia l s e r v ic e . C a r g ill g iv e s u s an in t e r e s t in g p ic tu r e of A m e r ic a n d e c a d e n c e of th e tw e n tie th c e n tu r y , n a m in g E z r a P ou nd, T . S. E lio t, H a rt C ra n e, and A r c h ib a ld M a c L e is h "as d e s e r v in g o f im m o r ta lity a s . . . B a u d e la ir e , M a lla r m e , R im b au d , and V a le ry " (p. 309). He m e n tio n s th e " b o o k ish n e s s " and " a r tific ia lity " of th e A m e r ic a n d e c a d e n c e , P o u n d 's la c k of ex r p e r ie n c e and th e v ic a r io u s " w o rld o f th e b ib lio p h ile ," P ou n d w h o w en t a b ro a d "to g a th er m a t e r ia ls fo r a d o c to r a l d is s e r t a t io n on L ope de V ega , . . [and] r e m a in e d m o r e th a n a th ir d of a cen tu ry " (p. 2 3 0 ), h is w a s te d e n e r g ie s and im ita tio n s; A m y L o w e ll's " im a g ism " and h e r in t e r e s t in th e r e la t io n of m e lo d y and v e r s e ; C on rad A ik e n 's " n y m p h o lep sy " in The C h a r n e l R o se (1 9 1 8 ) w h e r e " b eg in n in g w ith th e lo w e s t o r d e r of lo v e , the; m e r e ly c a r n a l, th e th em e le a d s ir r e g u la r ly , w ith r e tu r n s and a n tic ip a tio n s a s in m u s ic , th ro u g h v a r io u s p h a se s of r o m a n tic or id e a lis t ic love> to s e v e r a l v a r ia n ts of s e x u a l m y s t ic is m ; fin a lly en d in g . . . in a m y s t i- i c is m a p p a r e n tly p u re ." It is a kin d o f " d rea m p u r su it . . ." (p. 2 4 9 ). E lio t 's " T h e W a ste Land" a r r iv e s a t th e " c u lm in a tio n of D e ca d en ce " w ith it s " m a jo r th e m e [of th e ] . . . s p ir itu a l s t e r ilit y o f c o n te m p o r a r y lif e ," and th e p o e t 's a n sw e r to f e a r - - "death" (p. 2 5 9 ). C a r g ill g o e s on to sta te th a t " th ere is n o th in g m y s t ic a l ab ou t th e n ew E lio t; th e r e is in ste a d in h im a r e s u s c it a t io n o f th e o ld h a r s h d o g m a tism of A r ch b ish o p Laud" (p. 2 6 8 ). 219 3. a b rea k a w a y fr o m tr a d itio n a l n o v e l fo r m s and a s u b tiliz in g r e fin e m e n t of e x p e r im e n ta l te c h n ic a l d e v ic e s , in clu d in g s y n e s th e s ia , n o v e lty v e r s u s m on oton y, and o th er in n o v a tio n s. A m on g th e d eca d en t in flu e n c e s upon F a u lk n e r1 s e a r ly w o rk w h ich h a v e b e e n n o ted a r e H art C ra n e, E lio t, M a lla r m e , P o e , D ante Ga- 15 b r ie l R o s s e tti, S w in b u rn e, and W ild e. K eep in g in m in d th e in flu e n c e s on F a u lk n e r 's e a r ly w o rk , one sh o u ld add th e n a m es of A ik en , B a u d e la ir e , and V e r la in e to th is group. L ik e W ild e, w ho w r o te in h is " P r e f a ce" to D o ria n G ray a d e fe n se of th e d o c tr in e of art fo r a r t's s a k e ,^ F a u lk n er sta te d , A n a r t is t is a c r e a tu r e d r iv e n by d e m o n s. He d o e s n 't know w hy th ey c h o o s e h im and h e 's u s u a lly to o b u sy to w on d er w h y. He i s com p le t e ly a m o r a l in th at he w ill ro b , b o rro w , b eg , or s t e a l fro m a n y body and e v er y b o d y to g e t w o r k d on e. . . . T he w r it e r 's only r e s p o n s ib ilit y is to h is a rt. . . . E v er y th in g g o e s b y the b oard : h on or, p r id e , G eo rg e S n ell, The S h a p ers of A m e r ic a n F i c t i o n - -1 7 9 8 -1 9 4 7 (N ew Y ork , 1947), p. 88 , m e n tio n s P o e . W illia m Van O 'C onn or, The T an gled F ir e . . ., pp. 1 6 -1 7 , 32, n o te s Sw inburne, M a lla r m e , and J a m es B ra n ch C a b e ll. C a r g ill, In te lle c tu a l A m e r ic a , p. 372, n a m e s M a lla rm ^ a s an " ob viou s d eb t." H yatt H. W aggon er, W illia m F a u lk n er fr o m J e f f e r s o n to th e W o rld (L ex in g to n , K entu ck y, 19 5 9 ), pp. 5 - 6 , m e n tio n s O s- c a r W ild e and S w in bu rne. O ther in flu e n c e s a sid e fr o m th o se w h ic h are d e c a d e n t in th e s t r ic t e s t s e n s e of th e te r m w e r e no doubt o p e r a tiv e in F a u lk n e r 's e a r ly w o rk . S n ell a ls o m e n tio n s B row n , M e lv ille , and H aw thorne; O 'C onnor adds K e a ts, th e new Im a g ist p o e ts , A ik en , A n d erso n , and the R u ssia n n o v e lis ts ; C a r g ill n o te s F . S cott F itz g e r a ld , e s p e c ia lly in the d an ce s c e n e of S o ld ie r s ' P a y w h e r e M r. D ough and M r. R iv e r s v ie fo r th e fa v o r s of C e c ily S a u n d ers, and lik e n s it to F itz g e r a ld 's "T he J e lly B ean ." One sh o u ld n o te, to o , th a t O 'C onnor h a s tr e a te d the in flu e n c e of V e r la in e , P a te r , H u ysm an s and W ild e on F itz g e r a ld 's T h is Side of P a r a d is e (1919); and W aggon er add s H ou sm an , C a b ell (J u rg en , 19 1 9 ), and C um - m in g s. ^ N o t e d b y M a u r o is, p. 70. ' 220 17 d e c e n c y , s e c u r ity , h a p p in e s s . W h a tev e r the r e la tio n s h ip of h is s e n s e o f m e t ie r to th at of W ild e } 1 Q or a n y o th er d eca d e n t, h is f ir s t n o v e l, S o ld ie r s1 P a y , b e s t illu s t r a t e s h is tr e a tm e n t o f a fic tio n a l s itu a tio n w ith th e c h a r a c t e r is t ic s and d e v ic e s of d e c a d e n c e w h ich I h a v e n o ted . On one l e v e l the n o v e l is a d r a m a tic r e n d e r in g of tw o co n ten d in g g r o u p s, s o ld ie r s and c iv ilia n s , an d of h e v a r io u s c o n flic ts w h ic h o c cu r w h e n the tw o e n c o u n te r e a c h o th er after W orld W ar I is o v e r . To p a r tic u la r iz e th e tr a g e d y o f th o se c o n f li c t s and to e x p lo r e th e m a n ifo ld m e a n in g s of lif e and d ea th , F a u lk n er i p r e s e n t e d th e r e a d e r w ith a g r o te s q u e ly d is fig u r e d r e tu r n in g h e r o , L ie u te n a n t D o n a ld M ahon of the R o y a l A ir F o r c e , w ho li v e s in a m o r i bund w o r ld of s e m i- o b liv io n . On h is w a y h o m e b y tr a in to C h a r le sto w n , jG eorgia, he m e e t s th r e e p e o p le , P r iv a t e J o e G illig a n , C ad et J u lia n L ow e, and M a r g a r e t P o w e r s , an a ttr a c tiv e yo u n g w a r w id o w . The th r e e , s e e in g M a h on 's h e lp le s s s ta te , d e c id e to c a r e fo r h im . In th e c o u r s e of th e tr ip , G illig a n , a s e a s o n e d v e te r a n , m a k e s lo v e to M a r g a r e t, w h ile | you n g C adet L o w e, r o m a n tic a lly o v e r w h e lm e d b y su c h th in g s a s w a r I and w o m en , w o r s h ip s h e r in a c h ild is h ly r o m a n tic fa s h io n . In C h a r le s - i i [town, m e a n w h ile , M ah on 's fa th e r, a n E p is c o p a lia n r e c to r , w a lk s in th e 17 ! In te r v ie w e d by J e a n S tein , N ew Y ork C ity , 195 6 , pub. in W r it- |ers at W ork: th e P a r is R e v ie w I n te r v ie w s , ed . M a lc o lm C o w le y (N ew [York, 1959), p p . 1 2 3 -1 2 4 . ^ S i g n e t e d ., N ew Y ork, A p r il, 1959. O r ig in a lly pu b. N ew Y ork , |1926. R e fe r e n c e s to the b o o k a re fr o m th e S ig n et ed . and a r e in d ic a te d b y p a g e n u m b e r s, and b y th e in itia ls S P w h e r e th e la c k of th e a b b r e v ia tio n m ig h t o th e r w is e r e s u lt in c o n fu sio n , in p a r e n th e s e s a fte r q u o ta tio n s . I h a v e c h e c k e d a ll q u o ta tio n s r e f e r r e d to in th is m o r e a c c e s s ib le irep rint a g a in s t th o se of th e f ir s t e d itio n and h a v e found th e m to b e c o n s is t e n t . 221 , I i g a rd en o f h is ch u rch y a rd , u n a w a re th at h is so n is not dead, but a liv e ; i and r e tu r n in g . H e c o n v e r s e s w ith J a n u a riu s J o n e s , a fat e x - f e llo w of j L atin "born of w h om he knew and c a r e d not" (p. 40 ). A fter th e tw o h a v e r e t ir e d to the p a r s o n a g e , C e c ily S a u n d e r s, D o n a ld 's c a p r ic io u s fia n c e e ,! ■ a p p e a r s. A s th e D iv in e k i s s e s h e r c h e ek , " J o n es' g o a t's e y e s im m e r s e d h e r in y e llo w co n tem p la tio n " (p. 4 9 ). T h e re fo llo w s a b latan t i ! S cen e o f a ttem p ted sed u c tio n , a fter w h ich C e c ily e s c a p e s J o n e s ' un in h ib ite d a d v a n ce s and f le e s to th e a r m s of h e r c u r r e n t b o y frie n d , G eo rg e I F a r r . U ndaunted during h e r te m p o r a r y a b s e n c e , J o n es tu rn s h is a tte n tio n s to D r. M ah on 's young h o u se k e e p e r , E m m y . A t the en d of th is tr a g ic o m ic e x p o s itio n , G illig a n and M a rg a r e t P o w e r s , h avin g p a ck ed C ad et L ow e off to h is h o m e in C a lifo r n ia , e n te r w ith D on ald M ahon; the tw o h a v e r e s o lv e d to r e m a in w ith th e d oom ed p r o ta g o n ist u n til th e la s t . F o r a tim e D r. M ahon r e ta in s th e illu s io n that h is so n w ill r a lly , but th e r e a lity of th e b o y 's im p en d in g death e v e n tu a lly p ie r c e s e v e n h is qu aint s h e ll of m e ta p h y sic a l o p tim is m . W hen it b e c o m e s a p p a ren t th a t C e c ily ca n n o t b rin g h e r s e lf to m a r r y j D onald, e v e n a s a th e r a p e u tic g e s tu r e , M a r g a r e t P o w e r s w e d s him out of a s e n s e of e x p ia tio n fo r not h a v in g lo v e d h e r f i r s t h u sb an d . A fter L ie u te n a n t M ahon d ie s , sh e p e r v e r s e ly r e f u s e s to m a r r y G illig a n , w h om sh e d e e p ly lo v e s , b e c a u se "If I m a r r ie d y o u y o u 'd be dead in a y e a r , [ i J o e . A ll th e m e n th at m a r r y m e d ie, y o u know" (p. 212). Sh e le a v e s j i i C h a r le sto w n a lo n e . T hroughou t the a c tio n , J a n u a riu s J o n es co n tin u es | ; I h is a tte m p ts to se d u c e C e c ily , M a r g a r e t, and E m m y; but h e s u c c e e d s on ly in th e im p a lp a b le r e a lm of c o n te m p la tio n . C e c ily , p r e g n a n t w ith G e o r g e F a r r 's c h ild , e x tr ic a t e s h e r s e lf fr o m th e c o n flic t b y elo p in g I 222 w ith h im . M a r g a r e t l e a v e s . O n ly G illig a n and D r. M ah on r e m a in . T he b o o k en d s a s th e y w a lk in to th e d a r k b y " m o o n - s ilv e r e d r id g e s a b o v e v a lle y s w h e r e m i s t hung s lu m b r o u s . . ." (p. 2 2 0 ). T h ey p a u se b y a tu m b le d o w n N e g r o c h u r c h to l i s t e n to th e s e r v i c e s . T h r e e r e c u r r in g im a g e s w h ic h s e r v e a s r e f e r e n c e p o in ts fo r c h a r a c t e r is t ic s and d e v ic e s of d e c a d e n c e a r e th e fa u n , th e w o r m , and th e t o w e r - - t o w h ic h I s h a ll now tu rn . T he F a u n S tep h a n e M a lla r m e 's m a s t e r p ie c e o f d e c a d e n c e , "L .'A pr6 s - m i d i d 'u n F a u n e ," i s c h a r a c t e r iz e d b y a fa u n w h o , in th e a fte r n o o n on a m o u n ta in s id e , c o n te m p la te s s o m e n y m p h s w h o m h e b e lie v e s h e h a s ra p ed : C e s n y m p h e s , je l e s v e u x p e r p e tu e r . S i c la ir , L eu r in c a r n a t ld g e r , qu*il v o lt ig e d an s 1' a ir A s s o u p i d e s o m m e ils to u ffu s. 19 A im a i- j e u n r e v e ? T he doubt in c r e a s e s , an d a s h e p la y s h is flu te h e is n ot s u r e w h e th e r h e h a s d r e a m e d th e w h o le e v e n t o r w h e th e r it h a s a c tu a lly h a p p en ed . V e n u s, th e e p ito m e of a ll h is d r e a m s o f d e s ir e , t e a s e s h is h a lf-w a k in g c o n s c io u s n e s s , and h e i s on th e p o in t of c a p tu r in g th e d e lig h tfu l v is io n w h en h e s u c c u m b s to s le e p . It i s , o f c o u r s e , n o t m e r e ly c o in c id e n ta l th a t F a u lk n e r 's f i r s t ^ F r o m S tep h a n e M a lla r m e P o e m s , t r a n s . R o g e r F r y (N ew Y ork , 1 9 5 1 ), p . 80; th u s, " T h e se n y m p h s I w o u ld p e r p e tu a te . / So c le a r / T h e ir lig h t c a r n a tio n , th a t it f lo a t s in th e a ir / H e a v y w ith tu fte d s lu m b e r s . / W as it a d r e a m I lo v e d ? " 223 p u b lish e d p o e m w a s e n title d " L 'A p r e s-M id i d'un F a u n e ," and b e g in s on the s a m e n o te of r e v e r ie : I fo llo w th ro u g h th e sin g in g t r e e s H er s tr e a m in g c lo u d e d h a ir and fa c e A nd la s c iv io u s d r e a m in g k n e e s L ik e g le a m in g w a te r fr o m so m e p la c e Of s le e p in g s t r e a m s , or au tu m n le a v e s _ S low sh e d th ro u g h s t ill, lo v e - w e a r ie d a ir . . . . M a lla r m d m a y w e ll b e th e s o u r c e fo r J a n u a riu s J o n e s' fa u n a l t r a it s in S o ld ie r s ' P a y . E a r ly in th e n o v e l, h is fa c e is d e s c r ib e d a s "a rou nd m ir r o r b e fo r e w h ich fa u n s and n ym p h s m ig h t h a v e w a n to n ed w h en the w o r ld w a s young" (p. 4 1 ). A nd if J o n es i s th e fau n, th en C e c ily and E m m y q u a lify a s n y m p h s, f r e e ly ru n n in g in a n a tu r a l w o r ld . A ll th e f o r m a l r e s t r ic t io n s of th e V ic to r ia n age s e e m to h a v e v a n ish e d . P a r t of th e d e c a d e n t m o v e m e n t w a s , of c o u r s e , th e a d v en t of th e "new w om an " w ho p e d a le d " b r isk ly about th e c o u n tr y sid e on a b ic y c le , p la y in g g o lf, h o c k e y , and l a c r o s s e , sk iin g in s k ir ts 'a s sh o r t a s sh e h ad th e c o u r a g e to w e a r '" (G aunt, p. 2 1 6 ). It i s J o n e s w h o is m o s t a w a re of the n ew w o m a n 's p a s s io n a l r e la t io n s and p r im itiv e p la y , and he s t a r e s at C e c ily , h is e y e s "bold and c o n te m p la tiv e , o b s c e n e a s a g o a t's " (p. 1 55). C aught in J o n e s' g a z e , sh e is c o m p a r e d to A p o p la r , v a in and p lia n t, tr y in g a ttitu d e a fte r a ttitu d e, g e s tu r e a fte r g e s t u r e - - " a g ir l tr y in g gow n a fte r gow n , p e r p le x e d but in p le a s u r e ." H er u n s e e n fa c e n im b u se d w ith lig h t and h e r b od y, w h ich w a s no b od y, c r u m p lin g a d r e s s th a t had b e e n d r e a m e d . N ot fo r m a te r n ity , n ot e v e n fo r lo v e : a th in g fo r th e e y e and the m in d . E p ic e n e , h e th ou gh t, f e e lin g h e r s lim b o n e s , the b itte r n e r v o u s n e s s la te n t in h e r f le s h , (pp. 1 5 5 -1 5 6 ) The n y m p h o lo g y of C e c ily is a s s u r e d a s J o n e s c o n te m p la te s h e r and b e c o m e s "a fa t M ira n d o la in . . . n y m p h o le p sy . . ." (p. 156). Su ch a 70 New R epublic, A ugust 6, 1919, p. 24. 224 d e s c r ip tio n e c h o e s G o u rm o n t's e a r lie r sta te m e n t w h ich c la sh e d w ith the m o r e c o n v e n tio n a l V ic to r ia n c o n c e p ts of b eau ty: he s a id b eau ty is "a se x u a l illu sio n " r a th e r th an "a p u re id ea ," and is " in tim a tely c o n n ected 21 w ith th e id ea of c a r n a l p le a s u r e . ..." A s C e c ily le a v e s th e p a r so n a g e for a sc e n e of t e a r y p a s s io n w ith G eo rg e F a r r , J o n e s w a tc h e s fr o m th e w in d ow . "His rou n d fa c e w a s e n ig m a tic as a g o d 's, h is c le a r o b sc e n e e y e s sh ow ed no em otion " (p. 62); and ju s t b efo re h e h a s im a g in e d "her lo n g su b tle le g s , lik e A ta la n ta 's r e ft of running" (p. 55). S e v e r a l a llu s io n s to Sw inburne c a n be found th rou gh ou t the n o v e l. A t a p a r ty th e to w n 's m o s t e lig ib le b a c h e lo r , D r. G ary, d a n ce s w ith a n a iv e g ir l and t e lls h e r , " D ancing w ith y o u . . . is lik e a p o em by a m in o r p o et n am ed S w in b u rn e." . . . "Sw inburne?" She s m ile d v a g u e ly , w a tch in g th e o th er co u p le, not lo s in g th e rh yth m , n o t c r a c k in g h er p a in t. H er fa c e w a s sm o o th , a s s k illfu lly done and a s a r t if ic ia l a s an o r ch id . "D id he w r ite p o e m s , too?" (p. 138) S w in b u rn e's d e c a d e n t in flu e n c e is o b v io u s en ou gh in th is s c e n e , a s in o th e r s , but p e r h a p s m o r e im p o rta n t fo r our p u r p o se s a r e th e th e m a tic s u g g e stio n s of la s s it u d e , b la s d a ttitu d e s, and a r t ific ia lit y . The S w in bu rn e r e f e r e n c e s m o st o fte n b len d w ith the fa u n a l c h a r a c te r of J o n e s, h o w e v e r . M a r g a r e t P o w e r s , Joe G illig a n , and the r e c to r a re ta lk in g 21 In "T he D is a s s o c ia tio n of Id ea s," p . 30. "T his id e n tific a tio n of w o m a n and b e a u ty g o e s s o fa r to -d a y th at w e h ave h ad in n o ce n tly p r o p o s e d us th e 'a p o th e o sis of w o m a n ,' m ea n in g the g lo r ific a tio n of b ea u ty , w ith a ll th e p r o m is e s co n ta in ed in S ten d a l's [ s i c ] d e fin itio n ta k en in it s e r o tic s e n s e . B ea u ty is a w om an and w om an is b eauty. The c a r ic a tu r is ts a c ce n tu a te th e c o m m o n se n tim e n t by in v a r ia b ly co u p lin g w ith a w om an , w hom th e y s tr iv e to ren d er b ea u tifu l, a m a n w h o se u g li n e s s th e y s t r e s s to the e x tr e m e of v u lg a r ity . . . ." T h u s, th e d e p ic tio n of C e c ily as n ym p h and J o n e s as fa u n b e c o m e s a kind of c a r ic a tu r e o r s a t ir e of the a s s o c ia te d id e a s of b ea u ty and w om a n in th e tr u ly d eca d en t tr a d itio n . 225 q u ie tly o u tsid e w h en E m m y su d d en ly ru n s by and d a r ts in s id e . T h en th e y s e e J o n e s, " lik e a fa t s a ty r , le a p in g a fte r h e r , h o p e le s s ly d i s ta n ced " (p. 1 98). He is a c tu a lly ru n n in g u n til h e n o tic e s th em . H is e y e s , " c le a r and y e llo w , o b sc e n e and old in s in a s a g o a t's , r o v e d b e tw e e n th em ." A fte r so m e W ild eia n r e p a r te e on the su b je c ts of ru n n in g, r ed u c in g (J o n es is a v e r y h ea v y fau n ), and m a r r ia g e , th is ex ch a n g e o c c u r s: " P er h a p s M r. J o n e s w a s m e r e ly p r e p a r in g to w r ite a p o e m . L iv in g it f ir s t , yo u know ," M r s . M ahon [M a r g a re t P o w e r s ] o ffe r e d . J o n e s lo o k ed at h e r sh a r p ly . " A ta la n ta ," sh e s u g g e s te d in th e du sk. "A tlanta?" [ s i c ] r e p e a te d G illig a n , " w h a t--" "T ry an ap p le n e x t tim e , M r. J o n e s," sh e a d v ise d , (p. 199) J o n e s 's f e r it y is illu s t r a t e d on ce a g a in a s, on a la te e v en in g w a lk , G illig a n p a u s e s , n o ticin g so m e th in g c r a w lin g s h a p e le s s ly a lo n g "the m o o n y w a ll of the r e c to r y , fr o m le d g e to le d g e ." It is J o n es a t te m p tin g to r e a c h E m m y 's room : "W hat a r e y o u tr y in g to do?" G illig a n a sk ed . "C lim b up h e r e a lit t le fu r th e r and I 'll show y o u ," J o n es to ld him sn a r lin g w ith h is y e llo w te e th . "C om e aw ay fr o m th e r e , fe llo w ." {p. 217) E v e n a fter J o n e s is cau gh t, he s t i l l t r ie s to h e a v e h im s e lf up th e w a ll to E m m y 's w in d ow , on ly to be d ra g g ed down and b ea ten b y G illig a n . T o w a r d th e end of the n o v e l, J o n e s th in k s of th e gard en of E d en and s e v e r a l lin e s fro m The R u b a iy a t, w h ic h r e a c h e d it s h eig h t of p o p u la r ity d u r- 2 2 in g th e la s t q u a rter of th e n in eteen th c en tu r y . A s J o n e s is la s t s e e n ^ F a r m e r , p . 30, lin k s th e R ubdiydt to the s e r io u s , s p ir itu a lly im p o v e r is h e d d e c a d e n ts. W ritin g of th e d e c a d e n c e , he s t a t e s , "IL s 'a g it, e n c o r e de d iv e r g e n c e s in d iv id u e lle s , m a is l e s a n n ees qu i su iv e n t im m d - d ia tem en t 1870 o ffre n t d e s in d ic e s qui la is s e n t d e v in e r que l'h e u r e e s t p r o c h e oil la m a s s e p r e n d r a c o n s c ie n c e de ce que le s e s p r it s in s o le s ont dej& d is c e r n e : que le m a t e r ia lis m e ne s a u r a it s a t is f a ir e l e s b e so in s d e s §.m es; que la s c ie n c e p o s itiv e a d etr u it la fo i tr a d itio n n e lle e t n 'a 226 o v e r c o m e w ith th e p o e tic m e m o r y of g ir ls , r a is in g " h is c le a r s e n t i m e n ta l ten o r" in th e m o o n lig h t: " S w e e th e a r t, sw e e th e a r t, sw e e th e a r t," one e a s il y r e m e m b e r s M a lla r m e1 s faun d r e a m in g of n y m p h s, p la y in g h is flu te and sig h in g on th e v e r g e of a d rea m : J o n e s le a n e d h is e lb o w s on a g a te, sta r in g at h is lu m p y shadow at h is fe e t, s m e llin g cap e ja s m in e , h e a r in g a m o ck in g b ird s o m e w h e r e , so m e w h e r e . . . . J o n e s sig h e d . It w a s a s ig h of p u re ennu i. (p. 218) T he W orm B a u d e la ir e 's p o em "Une C harogne" ("A C a rrion " ) m a y b e sa id to e p ito m iz e th e d e c a d e n t F le u r s du M a i: R a p p e le z -v o u s l'o b je t que nou s v im e s , m o n Sm e, Ce b ea u m a tin d 'e te s i doux: A u d eto u r d'un s e n tie r une ch a ro g n e in fS m e Sur un l i t s e m e de c a illo u x , L es m o u c h e s b o u rd o n n a ien t su r c e v e n tr e p u trid e, d'otl s o r ta ie n t de n o ir s b a ta illo n s Le la r v e s , qui c o u la ie n t co m m e un e p a is lia u id e L e lo n g de c e s v iv a n ts h a illo n s . donne en reto u r que la to r tu r e du dou te, ou b ie n une c e r titu d e tr o p cru - e lle , S . s a v o ir que l'u n iv e r s e s t in d iffe r e n t aux e ffo r ts e t aux so u ffr a n e e s d es e t r e s . Le RubeCiyat de F itz g e r a ld , oh un d e s e s p o ir so m b r e s e cach e so u s un e p ic u r is m n o n ch a la n t, n 'a v a it ^ V eille aucun e c h o en 1 8 5 9 , et la se c o n d e e d itio n (1868) a v a it e te e g a le m e n t n e g lig e e ; m a is la tro isi& m e (1872) co n n a it un c o m m e n c e m e n t de su cc& s, et la quatrifem e (1 8 7 9 ) e s t en lev ^ e im m ^ clia tem en t." T h u s, "It is m o r e a q u estio n of d iv e r g e n t in d iv id u a ls, but th e y e a r s w h ich fo llo w im m e d ia te ly 1870 o ffer s o m e in d i c a tio n s w h ich co n fid e th at th e h ou r is g ro w in g n ea r w h en the m a s s w ill take c o n s c ie n c e of w h at the lo n e ly m in d s h a v e a lr e a d y d is c e r n e d : that m a t e r ia lis m w ill not know how to s a t is f y th e n eed s of so u ls; th a t p r a c ti c a l s c ie n c e h a s d e s tr o y e d tr a d itio n a l fa ith and g iv e n n oth in g in r etu rn but th e to r tu r e of doubt, or e ls e a v e r y c r u e l c e r ta in ty in th e k n ow led ge th at th e u n iv e r s e is in d iffe r e n t to th e e ffo r ts and s u ffe r in g of h u m a n b e in g s. T he R u b aiyat of F itz g e r a ld , w h ere a so m b r e d e s p a ir h id e s under a n o n ch a la n t E p ic u r ia n ism , had ev o k ed n o t an ech o in 1859, and the s e c ond e d itio n (1868) had b e e n e q u a lly n e g le c te d ; but th e th ird (1 8 7 2 ) knew a b eg in n in g of s u c c e s s , and the fo u rth (1 8 7 9 ) so ld out im m e d ia te ly . 227 23 It h a s b e e n s u g g e s te d th a t t h e s e lin e s a r e but a " p o w erfu l r e s e t t in g of th o se w h ich P o e 's d e r a n g e d L ig e ia m a d e h e r lo v e r r e c e ite a s sh e la y dyin g": . . . But s e e , a m id th e m im ic ro u t A c r a w lin g sh ap e intrude'. A b lo o d -r e d th in g th a t w r ith e s fr o m out The s c e n ic solitud e'. It w r it h e s '.- - it w r it h e s ! - - w it h m o r ta l p an gs The m in e s b e c o m e it s food , A nd the s e r a p h s so b a t v e r m in fa n g s In h u m an g o r e im b u ed . . . . And th e a n g e ls , a ll p a llid and w an, . . . a ffir m That th e p la y is th e tr a g e d y , "M an," And its h e r o , th e c o n q u e r o r W o rm . (S ee C a r g ill, p . 183) T he s p e c ia l e m p h a sis on d ea th as a c h a r a c t e r is t ic of d e c a d e n c e thus h a s d e e p r o o ts; and su ch an e m p h a sis i s v ir tu a lly o m n ip r e s e n t in S o l d ie r s ' P a y , a lth ou gh the m o t if is o ften c o n tr a s te d w ith the d r e a m - v it a li- ty of th e fa u n a l im a g e in th e c o m ic fo r m of b la ta n t s e x . T h e r e a r e tw o ; w o r m im a g e s r e la te d to th e d ea th th e m e w h ich a r e d iffic u lt to e x tir p a te fr o m th e d e c a d e n t tr a d itio n . The f i r s t o c c u r s ju s t a fte r L ie u te n a n t M ah on h a s d ied : S ex and D eath : the fr o n t d oor and th e b a ck d o o r of the w o r ld . How in d is s o lu b ly a r e th ey a s s o c ia t e d in u s! In y o u th th ey lif t u s out of the; f le s h , in o ld a g e th ey r e d u c e u s a g a in to th e fle s h ; one to fa tte n u s, th e o th er to f la y u s, fo r th e w o r m . W hen a r e se x u a l c o m p u lsio n s m o r e r e a d ily a n sw e r e d th a n in w a r o r fa m in e o r flo o d o r f ir e ? (p. 2 0 4 ) (it a lic s added) L e s F le u r s du M a i, B a rn a rd e d . (L o n d r e s, 1942), IV, 50; th u s,; 'i'Do y o u r e c a ll th e o b ject th a t w e sa w , rrvy so u l, / T hat lo v e ly s o ft m o r n in g o f su m m e r : / On the s id e of a p ath a filth y c a r r io n / On a b ed str e w n w ith p e b b le s . ... I F lie s b u z z e d o v e r t h e s e p u tr id e n tr a ils , / W hence e m e r g e d fo u l h o s t s / Of la r v a , w h ich o o z e d out lik e a h e a v y sy ru p / A lo n g th e s e liv in g , w r ith in g r a g s." 228 The se c o n d r e fe r e n c e is s u e s fr o m the lip s o f the r e c to r , who s a y s th e se w o r d s to Joe G illigan : "Y ou a r e su ffe r in g fr o m d isa p p o in tm en t. But th is w ill p a s s aw ay. The sa d d e st th in g about lo v e , J o e , is th a t not on ly th e lo v e can n ot la s t fo r e v e r , but e v e n th e h e a r tb r e a k is so o n fo r g o tte n . How d o e s it go? 'M en h ave d ied and w o r m s have e a te n th em , but not fo r l o v e . 1" (p. 220) ( it a lic s added) T he T ow er The w o r m im a g e , a c o m m e n ta r y on p h y sic a l d ea th in c o n tr a s t to th e tr a n s ie n t r e a lit ie s of life and s e x , is r e la te d not o n ly to a m o c k e r y o f th e se n tim e n ta lity of r o m a n tic lo v e , but a ls o to a d e e p e r q u estio n in g of V ic to r ia n o p tim ism and is , a s it w e r e , a p a r a d o x ic a l a ffir m a tio n of th a t s p ir itu a l and m o r a l d is illu s io n m e n t c h a r a c t e r is t ic of the d eca d en t m o v e m e n t. T h is p e r v e r s e a ffir m a tio n of w h a t m a y be lo o k ed upon a s a kind of n e g a tio n is an attitu d e a s p e r v a d in g a s that of th e o b sc en e and r io to u s faun, alth ough it is m u ch m o r e s u b tle . It fin d s e x p r e s s io n c lo s e to the b eg in n in g and at th e end of th e n o v e l. The op en in g sc e n e of C hap te r II fin d s th e r e c to r sp ea k in g to J a n u a riu s Jon es: "Good m o r n in g , young m a n ." H is sh in in g d om e w a s fr ie n d ly a g a in st an iv y - c o v e r e d w a ll a b o v e w h ich th e co n su m m a te g r a c e of a s p ir e and a g ild ed c r o s s s e e m e d to a r c a c r o s s m o tio n le s s young c lo u d s. J a n u a riu s J o n e s, caught in the s p ir e 's illu s io n of slo w r u in , m u rm u red : "W atch it fa ll, s i r ." The su n w as fu ll on h is young round fa c e . . . . "It w a s e v e r m y c h ild ish d elig h t to stan d b en ea th a sp ir e w h ile clo u d s a r e m o v in g o v e rh ea d . The illu s io n of slo w fa llin g is p e r f e c t ." (p. 40) (ita lic s added) T he c o n v e r s a tio n co n tin u es w ith a kind of W ild eia n d ia lo g u e , D r. M ahon on th e d e fe n s iv e , J o n e s con ten d in g th at p e o p le not o n ly "do not d e s e r v e sa lv a tio n , but . . . do not p a r tic u la r ly d e s ir e it" (p. 4 0 ). The fa u n a l J o n e s, a s h a s b een illu s tr a te d , liv e s in a p h y s ic a l w o r ld w h ich em p h a s iz e s p h y sic a l p le a s u r e s . The fa c t that he is " la tely a fe llo w of L a tin in 229 a s m a ll c o lle g e " i s c o n s is t e n t w ith h is fr a n tic P a g a n a c tiv itie s th ro u g h out th e n o v e l a s w e ll a s w ith th e fau n al c o n c ep t. H e liv e s a lw a y s w h ere s e n s a tio n is e s s e n c e , and th us it is fittin g th at he be the one to n ote the ch u rch s p ir e 's " illu sio n of slo w ruin" and to c h a lle n g e not o n ly th e r e c to r 's s p ir itu a l c o n c e p ts , but, on a b r o a d e r le v e l, th e V ic to r ia n o p tim ism in h e r e n t in orth o d o x s p ir itu a l c o n c e p ts . A t the en d of the s to r y , a s the r e c to r w a lk s w ith th e b a s ic a lly d e c en t and m o r e orth od ox Jo e G illig a n , w ho is d isa p p o in ted in lo v e , he s a y s , " C ir c u m sta n c e m o v e s in m a r v e llo u s w a y s, Joe." "I th ought y o u 'd a sa id God, r e v e r e n d ." "G od is c ir c u m s t a n c e , J o e . G od is in th is lif e . We know nothing about the n e x t. T hat w ill ta k e c a r e of it s e lf in good t im e . 1 The K in g dom of God is in m a n 's ow n h e a r t,' th e B ook s a y s ." " A in 't th at a kind of fu nny d o c tr in e fo r a p a r so n to g et off?" (p. 220 ) ( it a lic s added) D r. M ahon h a s lo s t h is so n and Jo e h a s lo s t M a rg a r e t P o w e r s . Both m e n a r e su ffe r in g fr o m " d iv isio n and d eath ." T h ey w a lk on to g e th e r u n til th e ir a tten tio n is a ttr a c te d b y s e r v ic e s at a N e g ro ch urch: T he sin g in g d rew n e a r e r and n e a r e r ; at la s t , cro u ch in g am on g a clu m p of t r e e s b e s id e the r o a d , th ey sa w the sh ab b y ch u rch w ith its ca n tin g tr a v e s t y o f a s p ir e . W ith in it w a s a s o ft glow of k e r o se n e s e r v in g on ly to m a k e th e d a r k n e ss and the h e a t th ic k e r , m ak in g th ic k e r th e im m in e n c e of s e x a fter h a r s h la b o r alon g the m oon ed land; and fr o m it w e lle d the c ro o n in g su b m er g e d p a s s io n of th e d ark r a c e . It w a s n oth in g, it w a s e v e r y th in g . . . . (p. 221) (it a lic s added) A s th e N e g r o v o ic e s w e ll into e c s t a s y , n ot the q u e stio n of, but w hat ap p e a r s to be M an 's e te r n a l s p ir itu a l n e e d is put in to c h o r ic w o rd s: F e e d T hy Sh eep, O J e s u s . A ll the lo n g in g of m an kind fo r a O n en ess w ith S o m eth in g , s o m e w h e r e . . . . (p. 221) B en ea th th e " ca n tin g tr a v e s ty of a sp ir e " G illig a n and the r e c to r " tu rn ed tow n w ard u n d er the m o o n , fe e lin g d u st in th e ir sh o e s" (p. 221 ). ; A su m m a r y of th e s e th r e e fo c a l im a g e s of d e c a d e n c e --th e faun, the w o r m , and the t o w e r - - s e e m s to be in o r d e r . T hrough th e faun, 230 F a u lk n e r s e e m s to be t e llin g th e r e a d e r th a t th e n ew a n im a lic m a n , lik e th e n ew w o m a n , i s , if n o t a s m u c h of a n illu s io n or d r e a m a s lif e it s e l f , th e n at l e a s t a s tr a n s ie n t; fo r th e w o r m r e m in d s o n e th a t th e fau n a s w e ll a s th e m a n m u s t d ie . D e c a d e n c e m in g le s w ith s y m b o lis m , and th e la t t e r r e n d e r s th e d e e p e r p o r tio n s o f th e n o v e l to th e r e a d e r .^ T he im a g e o f th e to w e r m a y f i r s t a p p ea r to p e r p le x th e r e a d e r : e v e n th e ju x ta p o s itio n s of th e r e c t o r an d J o n e s , th e to w e r and th e fa u n , th e c h u r c h and th e n a t u r a lis t ic m a n a r e h ig h ly p e r v e r s e o x y m o r o n s . T he s p ir e , of c o u r s e , m a y s y m b o liz e th e v a lu e s of o r g a n iz e d r e lig io n , and, ^ O n e sh o u ld r e m e m b e r F a r m e r 's s ta te m e n t, p. iv , th a t d e c a d e n c e h a d b e e n "but a n in c id e n t in th e d e v e lo p m e n t of s y m b o lis m , w ith w h ic h it e n d e d b y m in g lin g it s e lf " (m y t r a n s .) . S ee n. 7 . S o ld ie r s ' P a y is p r o fu s e w ith th e F r e n c h S y m b o lis t te c h n iq u e s o fte n a s s o c ia t e d w ith th e m a n n e r and d e v ic e s o f lit e r a r y d e c a d e n c e : s y n e s t h e s ia , o b liq u e s u g -' g e s t io n , and h ig h ly r e fin e d e x p r e s s io n . T h e l i s t w h ic h fo llo w s is o n ly an in d ic a tio n of s e v e r a l of t h e s e d e v ic e s : " lig h ts w e r e s h im m e r in g b ir d s on m o t io n le s s g o ld e n w in g s , b e ll n o te s in a r r e s t e d flig h t" (p. 17); " T h e r o o m . . . w a s a s u g g e s t io n o f fu r n itu r e , id e n t ic a lly v a g u e" (p. 27); in s te a d o f tu rn in g o u t th e lig h t, "her a r m s w e p t th e r o o m w ith d a r k n e s s " (p. 32); " th e b r o k e n m e a l" (p. 55); "the s ile n c e of th e h o u se w a s a c lo c k lik e a m e a s u r e d r e s p ir a tio n " (p. 63); " T h e d iv in e 's f a c e w a s g r a y and s la c k a s d ir ty sn o w " (p. 65); "H er w in d y d r e s s m o ld e d h e r lo n g ly " (p. 73); "a fe w th ic k c lo u d s fa t a s w h ip p ed c r e a m " (p. 80); " r a in - p e r p le x e d tr e e " (p. 8 6 ); " h arp h e r s o r r o w on h e r g o ld e n h a ir " (p. 93); " b lu r rin g h e r s lim e p ic e n ity , b lu r r in g h e r b o d y w ith p ain " (p. 99); " fr a g ile a r t ic u la tio n o f h e r bod y" (p. 103); "a p a le y e llo w c it y of s y m m e t r ic a l s ta c k e d p la n k s" (p. 109); "a v io le t s ile n c e s o ft a s m ilk " (p. 114); " T h e su n fla m e d s lo w ly a c r o s s th e w is t a r ia " (p. 127); "T he s y n c o p a tio n p u ls e d ab ou t th e m , a r e it e r a t io n of w in d and s t r in g s w a r m and tr o u b lin g a s w a te r " (p. 137); " M u sic c a m e fa in t a s a tr o u b lin g r u m o r b e n e a th th e s p r in g n ig h t, s w e e te n e d b y d is ta n c e " (p. 147); " F u r n itu re w a s s lo w u n - e m p h a tic g le a m s o f l e s s e r dark" (p. 153); " L ig h t in h e r h a ir w a s th e th u m b ed r im of a s ilv e r c o in " (p. 154); " tr u m p e ts in h is b lo o d " (p. 156);, !'he m o v e d bu t sh e fo llo w e d lik e w a te r " (p. 158); " e la s t ic sh a d o w s" (p. 162); " sh e la y in th e s o ft f a m ilia r in t im a c y o f s le e p , lik e a fa in tly blow n! tr u m p e t" (p. 168); " r o s e s p la s h e d r e d ly " (p. 172); " s p ik e s of b lo o m , b e c a m e w ith n ig h t s p ik e s of s c e n t" (p. 188); "She sh u d d e r e d , a s lim m uted: fla m e h u sh e d d a r k ly in d a r k c lo th in g " (p. 190); " D u sk w a s a d r e a m of a r r e s t e d tim e " (p. 201); an d "the d u sty so u n d of s p a r r o w s " (p. 2 0 5 ). 231 to be s u r e , F a u lk n er a tta ck ed th em ; but ju s t a s th e fau n f r o lic s and th e w o r m f e a s t s , th e to w e r p o in ts to w a rd h e a v e n s t i l l . The s p ir e s of our c h u r c h e s m a y s e e m to fa ll, or le a n a w r y e v e n to th e p oin t o f tr a v e s t y , but th e y a r e s t i l l th e m o s t e lo q u e n t s y m b o ls of m a n 's s tr iv in g to r e a c h a b o v e th e d u st w h ic h he ca n n o t e s c a p e . T h u s, th ro u g h a kin d o f d e c a d en t p e r v e r s it y , r e v e a le d in th e u ltim a te d e v ic e o f c la sh in g ju x ta p o s i tio n s , F a u lk n e r , lik e a V ic to r ia n ic o n o c la s t, s h a tte r e d th e s u r fa c e f o r m a lis m of r e lig io n ; y e t s im u lta n e o u s ly , lik e D r. M ahon h im s e lf in h is m o r e s e r io u s m o m e n ts, h e a ffir m e d m a n 's d e e p ly in tu itiv e , e te r n a l s e a r c h fo r s p ir itu a l m e a n in g . T h u s, .m u ch of th e s y m b o lis m one fin d s in S o ld ie r s ' P a y g o e s b ey o n d th e s k illf u lly e m p lo y e d te c h n ic a l d e v ic e s o f th e d e c a d e n ts: of s y n e s th e s ia , r e fin e d im a g e s and e x p r e s s io n s s u b je c t to e la b o r a te ly fr e e a s s o c ia tio n , and m e r e sh a llo w , s u g g e s tiv e s y m b o ls su ch a s th e faun and th e w o r m . T he to w e r , a s I h a v e t r ie d to in d ic a te , p a r ta k e s of th e a r t i s t ' s u n c o n sc io u s d im e n s io n s , of w h at is in d eed an a ffir m a tiv e a s s o c ia - ; tio n c lo s e ly r e la t e d to lo c a l c o lo r (the N e g r o ch u rch ) and h a v in g lit t le to do w ith d e c a d e n c e fr o m e ith e r a h is t o r ic a l or p h ilo s o p h ic a l v ie w . T h is is s im p ly to r e c o g n iz e , a s in h is e a r ly p o e m "Cathay" or th e M a r b le F a u n , th a t F a u lk n e r 's u n c o n sc io u s p o w er a s a w r ite r d o m in a te d th e a b so r b in g te c h n iq u e of th e m o m e n t - - h e r e th at o f th e d e c a d e n ts , w h ich h e o b v io u sly e m p lo y e d , and w h ich h a s s o o ften and e r r o n e o u s ly b e e n a s s o c ia t e d w ith a ~W eltanschauung of n e g a tiv is m . T o lim it th e s ig n ific a n c e of S o ld ie r s ' F a y to the s u b je c t m a tte r , th e m e s , and te c h n ic a l d e v ic e s of th e d e c a d e n ts w o u ld be a g e n e r a liz a - 232 tio n a s g la r in g a s a c o n d e m n a tio n of W ild e 's D o ria n G ra y on m o r a l g r o u n d s. In oth er w o r d s , F a u lk n e r did n o t su d d en ly b e c o m e "a d e c a dent" in 1925; r a th e r , w hat h e h ad to s a y ab ou t p o s t-w a r d is illu s io n m e n t, r id ic u lo u s r o m a n tic v is io n s of w a r , th e d u b io u sn e s s of V ic to r ia n o p tim is m , th e s e n tim e n ta l e x a lta tio n of f e m in is m and th e n ew w o m a n , s p ir itu a l and m o r a l en n u i and h y p o c r is y , th e ta ed iu m v it a e of a ll m e n w h o h a v e liv e d to o c lo s e to d e a th too lo n g , and the e m p h a s is on p le a s u r e and d e a t h - - a ll c o m b in ed to le n d t h e m s e lv e s to a d e c a d e n t tr e a tm e n t. T he n o v e l s im p ly illu s t r a t e s , a s I h ave t r ie d to show , v a r io u s a p p r o p r i a tio n s of d e c a d e n t d e v ic e s , s o m e of w h ic h m a y be lo o k e d up on as e x te n s io n s of F r e n c h S y m b o list te c h n iq u e s. S o ld ie r s ' P a y , lik e th e N ew O r le a n s s k e tc h e s , c o n tin u e s to r e v e a l str o n g r e la tio n s h ip s w ith h is e a r li e r w o r k , both te c h n ic a lly and th e m a tic a lly ; and, m o s t p a r tic u la r ly , it r e v e a ls a c o n tin u in g in t e r e s t in r e g io n a lis m and th e d e v ic e s o f lo c a l c o lo r . P e r h a p s to o m u ch h a s b een : s a id of th e fin de si& cle a s p e c t s of th is n o v e l b e c a u se o f a g e n e r a l u n a w a r e n e s s of th e n a tu re of h is p r e v io u s w o r k b egu n in th e sp r in g of 1919 w ith th e c o m p o s itio n o f th e M a rb le F a u n p o e m s . T h e th r e a d s of c o n n e c tio n a r e str o n g and o b v io u s. A m a jo r se ttin g of th e a c tio n in S o ld ie r s ' P a y is th e r e c to r y g a r d e n (p. 4 0 ), in w h ich J o n e s is in tr o d u c e d 2 ^ w ith th e fa u n a l t r a it s upon w h ic h I h a v e a lr e a d y c o m m e n te d . T he p r e w a r D on ald is a ls o d e s c r ib e d a s "a w ild th ing" w ith "the p a s s io n a te s e r e n e a le r t n e s s of a faun" (p. 58), and E m m y 's s to r y of th e ir lo v e in th e m o o n lit f ie ld s , r e p le te w ith w a te r im a g e s (pp. 8 8 -8 9 ) , r e p e a ts 2 C T h ere a r e m an y o th e r su ch illu s t r a t io n s , in c lu d in g th o se on pp. 40, 4 4 , 46, 47, 4 8 , 49, 50, 52, 63, an d 159. 233 str o n g ly s im ila r m o o d s and im a g e s of the M a rb le F au n , a s do G eo rg e F a r r ’s n o c tu rn a l a c t iv it ie s as he a n tic ip a te s a t r y s t w ith C e c ily ("he b e c a m e one w ith th e e a r th , w ith d a r k and s ile n c e ," p. 165). O ther R o m a n tic im a g e s of n a tu re in the M a rb le F au n s e e m to r ea p p e a r in S o l d ie r s ' P a y ( s e e pp. 56, 57, 89, 108, 166, 210). The fa m ilia r p e r s o n if ic a tio n of t r e e s a s young g ir ls , e s p e c ia lly p o p la r t r e e s , r e c a lls one of the d om in an t im a g e s of th e M a rb le F au n and fin d s its w a y in to the n o v e l no l e s s than n in e tim e s ( s e e pp. 43, 56, 59, 66 , 144, 185, 196, 198, 202). 26 O ther r e la te d im a g e s a r e too n u m e ro u s to d e ta il in th is c h a p ter. I h a v e a lr e a d y c o m m e n te d upon the r e la tio n sh ip of the n o v e l to F a u lk n e r 's f i r s t p u b lish e d p o em , " L 'A p r e s-M id i d'u n F a u n e," w h ich ap p e a r e d in A u g u st 1919. F a u lk n e r 's f ir s t s to r y , p u b lish e d in th e M i s s i s - sip p ia n in N o v e m b e r 1919, and a lr e a d y tr e a te d in C hap ter III of th is stu d y , a n tic ip a te s in it s p e r so n a of th e R oyal A ir F o r c e ca d et th e m o r e : d e ta ile d tr e a tm e n t of th e in e x p e r ie n c e d C adet J u lia n L ow e and so m e te c h n ic a l a s p e c t s of L ieu ten a n t D on ald M ah on 's fly in g a c t iv it ie s in S o l d ie r s ' P a y . T he n o v e l a ls o e c h o e s th e e a r lie r M is s is sip p ia n p o e m s " N a ia d s’ Song" and " F a n to u ch es" [ s i c ], both p u b lish e d in F e b r u a r y 1920. T he c o n n e c tio n w ith " N a ia d s’ Song" is v e r y s im ila r to th a t of th e M a r b le F au n , h a v in g its b a s is in n a tu re im a g e r y , w ood lan d la n e s and d r e a m y p o o ls of w a te r (pp. 8 8 -8 9 ). But th e n e x u s w ith " F a n to u ch es" is p r e c is e and d ir e c t, a s I h ave p r e v io u s ly n o ted (s e e C hapter V). The p o e m c o n c lu d e s, "La lu n e ne g ra d e [ s i c ] aucu n e rancu n e" ; J o n e s in th e j 26 A m on g th em a r e the m a r b le im a g e , p. 203; in k im a g e , p . 216; N a r c is s u s im a g e , p . 64; flo w e r im a g e s , pp. 6 4 , 195; a v ia n im a g e s , pp. Il l , 112, 125, 171, 214; s ilv e r m o o n lig h t and w a te r im a g e s , pp. 76, 208, 220; b ee im a g e , p. 117; and th e e a r th m o tif, p. 109- 234 n o v e l r e p e a ts su b s ta n tia lly the sa m e lin e w ith th e sa m e m is u s e d id iom : "La lune e n grad e au cu n e ra n c u n e " (p. 9 3 ). B oth lin e s , p u b lish e d ap p r o x im a te ly s ix y e a r s ap a rt, a p p ea r in s im ila r ly sa r d o n ic c o n te x ts. In th e sa m e w a y , " N octu rn e," p u b lish e d in th e sp r in g of 1921, a n tic ip a te s S o ld ie r s1 P a y in a n u m b er of w a y s. I h a v e a lr e a d y tr e a te d the p o em alon g w ith so m e of th e s e s im ila r it ie s in C hapter V, s o I sh a ll not r e p e a t an y d e ta ile d c o m p a r a tiv e lin e s h e r e; but one sh ou ld note the im a g e of th e w h ite c a n d e la b r a (pp. 75, 195); the te r p s ic h o r e a n im a g e in ju x ta p o sitio n w ith th o s e of d a r k n e ss and m e ta p h o r ic a l s e v e r e d fle s h (" from th e ou ter d a r k n e s s . . . w a tch in g h e r s lim body cut b y a m a s c u lin e a rm ," p . 135); and th e m o s t str ik in g co g n a te p h r a sin g ("A m a n 's fa c e s p itte d lik e a m o th on a la n c e of fla m e ," p. 181). F a u lk n e r 's d isa p p r o v a l of "M r. V a ch el L in d sa y w ith h is tin pan and ir o n sp oon ," e x p r e s s e d in h is r e v ie w of F e b r u a r y 1921, is r e it e r a ted in S o ld ie r s ' P a y in h is d e s c r ip tio n of a N eg ro s c h o o lte a c h e r w ho c o u ld tak e a g iv e n lin e fro m any b ook fr o m th e te le p h o n e d ir e c to r y dow n and so o n h a v e th e e n tir e p r e s e n t p e r s o n n e l ch an tin g it a ft e r h im , lik e V a c h e l L in d sa y , (p. 81) W hen I f i r s t m e n tio n e d in C hap ter V so m e w a y s in w h ich the o b sc u r e F a u lk n er sk e tc h "T he H ill" (M arch 1922) a n tic ip a te s h is la te r w ork , e s p e c ia lly S o ld ie i^ _ P a y , I n oted s im ila r it ie s of im a g e s and p h ra sin g w h ich I s h a ll n ot r e p e a t h e r e . But I sh o u ld add so m e fu rth e r r e la tio n sh ip s b e tw e en th e you n g h e r o of th e n o v e l and the " T ie le s s c a su a l" of !'The H ill." M ahon is d e s c r ib e d th rou gh a p r e -w a r p h otograp h by h is fa th er: "Y ou w ill n o tic e th at h e h as n e ith e r c o a t nor cra v a t" (p. 48). A gain , "He w ou ld n e v e r w e a r hat n or tie : h is m o th e r co u ld n e v e r m ak e him " (p. 58); "He w o u ld n e v e r have a h at or a coat" (p. 87); and, lik e the 235 " T ie le s s c a su a l" o f "T he H ill," M ah on lik e d to "go off in to th e c o u n try by h im s e lf" (p. 8 7 ). I h a v e a lr e a d y d is c u s s e d in C h ap ter V s o m e r e la tio n sh ip s b e tw e e n F a u lk n e r 's p o e m " P o r tr a it," p u b lish e d in th e D ouble D e a le r in June 1922, and S o ld ie r s ' P a y . It is h a r d ly s u r p r is in g th a t th e e c h o e s of a G reen B ough sh o u ld be s tr o n g in th e n o v e l, fo r The G r ee n in g B ough (the o r ig in a l t it le of the v o lu m e ) w a s p r e m a tu r e ly a n n o u n ced in e a r ly 192 5 , not lo n g b e fo r e S o l- 27 d ie r s 1 P a y w a s w r itte n . The e p ig r a p h of S o ld ie r s ' P a y w ith th e m in o r c h a n g e s of it a l ic s and q u o ta tio n m a r k s b e c o m e s th e fo u rth s ta n z a of p o em X X X of a G r e e n B ou g h . S e v e r a l d e ta ils of th e n o v e l s u g g e s t p o e m I: f ir s t , in th e s e m i- o b liv io n of th e p r o ta g o n ist, e x is tin g in a s ta te of l i v ing d eath ; s e c o n d , in the a lm o s t c r u e l in q u is it iv e n e s s and sh a llo w s y m p a th y of th e in q u ir in g w o m a n (p. 23); th ird , in th e r e it e r a t io n of p ity , "Oh, th e p o o r m an" (p. 126); and la s t , in th e p h r a sin g e x p r e s s e d u n d er s im ila r c ir c u m s t a n c e s of s o ld ie r s in is o la t io n fr o m th e c iv ilia n s o c ie t y to w h ic h th e y h a v e r e tu r n e d , "T he tw o of th em s a t in s ile n t c o m r a d e sh ip " (p. 23), c lo s e en ou gh to the p o e m 's "We s it in s ile n t a m ity ." I h a v e a lr e a d y c o m m e n te d upon th e r e p e a te d u s e of th e F r e n c h lin e w h ic h f ir s t a p p e a r e d in F a u lk n e r 's " F a n to u c h e s" [ s i c ] and r e a p p e a r s in S o l d ie r s ' P a y s lig h t ly a lte r e d "L a lu n e e n g ra d e aucun e r a n c u n e " (p. 93) but s t i l l c o n ta in in g th e sa m e in c o r r e c t v e r b u s a g e "g r a d e " in w h at sh o u ld p r o b a b ly b e th e e x p r e s s io n "g a r d e r r a n c u n e " ("to ow e a gru d ge" ); but I h a v e not m e n tio n e d th a t F a u lk n e r 's ty p e s c r ip t fo r p o em I X X X II, w h ic h h e p r e s e n t e d to h is fr ie n d Sam G ilm o r e , w a s e n title d "La 2 7 J a m e s B . M e r iw e th e r , T he L ite r a r y C a r e e r of W illia m F a u lk - : n er (P r in c e to n , 196 1 ), p . 23. 28 Dune ne G rade A ucun e R an cu n e," th e id io m a tic e r r o r p e r s is t in g . A p a r a lle lin g of p o em X V II and p r o s e e x c e r p ts fro m th e n o v e l illu s t r a t e s th e c lo s e r e la tio n sh ip and th e in te r change a b ility of h is p o e tr y and p r o s e m ed ia : P o e m XVII S o ld ie r s ' P a y o a tth is " A tth is ," h e sa id . for a m o m e n t an a e o n I p a u se p lu n g - "W hat did y o u c a ll m e? " in g H e to ld h er: " 'F o r a m o m en t, above th e n a rro w p r e c ip ic e of th y an a e o n , I p a u se p lu n gin g ab ove b r e a s t the n a rro w p r e c ip ic e of th y b r e a st' and on and on and on. Do w h at b e fo r e thy w h ite p r e c ip ic e th e you know how fa lc o n s m a k e lo v e ? e a g le T h ey e m b r a c e at an e n o r m o u s sh arp in th e su n lig h t and c le a v in g h e ig h t and f a ll lo c k e d , b ea k to h is lon g b lu e e c s t a s y . . . . b eak , p lu nging: an u n b ea ra b le e c sta sy ." (pp. 1 5 7 -1 5 8 ) T he fau n al im a g e s of p o em X LI r e a p p e a r th rou gh ou t the n o v e l, e s p e c ia lly in th e S y b a r itic a c t iv it ie s of J o n e s , w ho i s m o r e s a ty r than, faun. E m m y 's g a zin g a s "she ta s te d the b it te r a s h e s of an old so rro w " (p. 115) h a r k s b a c k to th e s y n e s th e tic lin k in g of th e th e m e of d isa p p o in t m en t in lo v e w ith th e s e n s e s : in p o em XXXII, " p aris / ta s t e s h is b itter thum bs"; and in p o em X X X V , " s t ill is th e r e / An o ld so r r o w sh a rp as w o o d sm o k e on the a ir ." S im ila r ly , the lin k a g e of h u m an p a s s io n w ith eq u in e im a g e s of th e w ind (b en eath the gold and m u te ca co p h o n y of s t a r s . . . . a r o ck a g a in st w h ic h w a v e s of t r e e s b ro k e, and . . . s t a r s w e r e g o ld en u n ico r n s n eig h in g u n h eard th ro u g h b lu e m e a d o w s, sp u rn in g th em w ith h o o v e s sh a rp and s c in tilla n t as ic e . . . n eig h in g s o u n d le s s ly fr o m d u sk to daw n . . . had s e e n h e r , . . . [pp. 1 3 5 -1 3 6 ]) fa in tly s u g g e s ts p o em X X X V I of a G reen B o u g h . F in a lly , the c lo s in g p o em X L IV (a lso know n a s "If T h ere Be G rief" ), p r e v io u s ly q u oted in 28 M er iw e th e r, p. 90. A ls o s e e fig . 4 fo r a r ep ro d u c tio n of the t y p e s c r ip t c o m p le te w ith its F r e n c h title . 237 C h ap ter VI, is r e c a p itu la te d th ro u g h b oth p h r a sin g and th e m e in S o l d ie r s 1 P a y : F a ir d a y s, and w e t d a y s in w h ic h r a in r a n w ith s ilv e r la n c e s o v e r the la w n , in w h ich r a in d rip p ed le a f to le a f w h ile b ir d s s t i l l sa n g in th e h u sh ed dam p g r e e n n e s s u n d er the t r e e s , and m a d e lo v e and m a r r ie d and b u ilt h o u s e s and s t i l l sang; in w h ic h r a in g r ew so ft a s th e g r ie f of a young g ir l g r ie v in g fo r the sa k e of g r ie f , (p. 197) ( it a lic s added) M any of th e N ew O r le a n s s k e tc h e s w e r e p r o b a b ly w r itte n d u rin g th e c o m p o s itio n of S o ld ie r s1 P a y ; and c o g n a te s of p h r a s in g , im a g e s , th e m e s , and m o tifs a r e , th e r e fo r e , if n o t to be e x p e c te d , at l e a s t u n s u r p risin g.^ To c o n s id e r F a u lk n e r 's s k e tc h e s in c h r o n o lo g ic a l o r d e r , one fin d s in "N ew O r le a n s" (J a n u a r y -F e b r u a r y 1925) th e g e n e r a l a ttitu d e of th e p r o s titu te M a g d a len e c h o e d in E m m y 's r e f le c t io n s on s o r r o w and t d isa p p o in tm e n t in lo v e , p a r tic u la r ly in th e " b itter a sh " im a g e (S P , p . 1 1 5 ). T he " c o u r te sa n im a g e " e m p lo y e d in r e f e r e n c e to th e c ity of N ew O r le a n s in th e sk e tc h of th e sa m e n a m e (pp. 4 5 -5 0 ) r e a p p e a r s in ^ C a rv el C o llin s, "A bout the S k e tc h e s ," W illia m F a u lk n e r : N ew O r le a n s S k e tc h e s (N ew B r u n sw ic k , 1958), p . 30, n o te s th at " D urin g th e p e r io d w h en he w a s c o n tr ib u tin g th e s e s k e tc h e s to th e P ic a y u n e F a u lk n er w a s h a rd at w o r k on h is f i r s t n o v e l, S o ld ie r s1 P a y ." F a u lk n er h ad g iv e n th e n o v e l to A n d er so n , w ho g a v e it to H o r a c e L iv e r ig h t, in a ll lik e lih o o d b e fo r e F a u lk n er le f t fo r E u ro p e in e a r ly J u ly . A t an y r a te , P h il S to n e 's le t t e r fr o m S h erw o o d A n d e r so n in L e t te r s of S h erw o o d A n d e r so n , ed . H ow ard M u m fo rd J o n e s (B o sto n , 1953), pp. 145-146, d a ted A u g u st 17, 1925, w h ile F a u lk n er w a s t r a v e lin g in E u r o p e , in d ic a te s th a t th e n o v e l w a s s t i l l u n der c o n s id e r a tio n by L iv e r ig h t and h ad b e e n r e a d by th r e e r e a d e r s . F o u r of th e s k e tc h e s , "T he L ia r" (Ju ly 2 6 ,1 9 2 5 ), " E p iso d e" (A u g u st 1 6 ,1 9 2 5 ), "C oun try M ice " (S ep te m b e r 2 0 ,1 9 2 5 ), and "Yo H o and : T w o B o ttle s of Rum " (S ep te m b e r 2 7 ,1 9 2 5 ), w e r e p u b lish e d a fte r F a u lk - j h e r le f t fo r E u r o p e . It i s , of c o u r s e , p o s s ib le th a t F a u lk n e r w r o te th e s e and g a v e th em to th e e d ito r b e fo r e h e le f t N ew O r le a n s . C o llin s, h o w - \ d v e r , s a y s th at he co u ld p o s s ib ly h a v e le f t "T he L ia r" and " E p iso d e" With th e e d ito r b e fo r e th e t r ip , but th a t th e fa c t th a t non e of h is w o r k a p p e a r e d d u rin g Ju n e and m o s t of J u ly , a lo n g w ith th e p a p e r 's p o lic y of hot h o ld in g su c h s k e tc h e s in r e s e r v e , in d ic a te s th a t " on ce a t s e a h e b ro k e h is s e r i e s about th e N ew O r le a n s F r e n c h Q u a rter . . ." (p. 31). 238 r e la t io n to C e c ily in th e n o v e l (S P , p . 161). " M ir r o r s o f C h a r tr e s S tr e e t" (F e b r u a r y 8 , 1925) fo r e sh a d o w s w ith its a v ia n im a g e s of lig h t, " g o ld en w in g s of s t r e e t lig h ts" (p. 56) and " th e lig h t o f g o ld e n p en n o n s fla p p in g a c r o s s th e dawn" (p. 57) F a u lk n e r 's e m p lo y m e n t of " lig h ts w e r e s h im m e r in g b ir d s on m o t io n le s s g o ld e n w in g s" in th e n o v e l (p. 17). A g a in , the sk e tc h w ith su c h p h r a s e s a s "his e y e s a s w ild and s o ft a s a fa u n 's" (p. 53) a n tic ip a te s th e n o v e l's p h o to g r a p h ic d e s c r ip tio n o f its h e r o b e fo r e the w a r , "w ith th e s e r e n it y o f a w ild th in g , th e p a s s io n a te s e r e n e a le r t n e s s of a faun" (p. 58). " C h eest" (A p r il 5, 1925) f e a tu r e s su ch lo c a lis m s in th e d ia lo g u e o f th e jo c k e y -h e r o a s " W h atch er w an t?" (p. 93) e m p lo y e d fr e q u e n tly in S o ld ie r s ' P a y a s , fo r e x a m p le , in C ad et L o w e 's "Say, w h a tc h e r d r in k in g , anyw ay?" (p. 7). T he j o c k e y 's b e llig e r e n t ig n o r a n c e and v e n e e r of c a llo w s e lf - c o n f id e n c e to w a r d " s k ir ts " a r e s tr o n g ly e c h o e d in C adet L o w e 's m a n n e r of b e h a v io r e a r ly in th e n o v e l, h is im m a tu r e p o s tu r in g to w a r d " Jan es" of h is a c q u a in ta n c e , and h is m a n n e r of sta tin g h im s e lf in h is le t t e r s to M a r g a r e t P o w e r s w ith u n g r a m m a tic a l b lin d n e s s to h is ow n fa u lts . J u st a s the n a tu r a l p o e t of "Out of N a za reth " (A p ril 12, 1925) c a r r ie s a s one of h is few p e r s o n a l p o s s e s s i o n s a " b a tte re d 'S h r o p sh ir e L ad " ' (p. 104), L ie u te n a n t M a h o n 's p e r s o n a l e ffe c t s r e tu r n e d to h is f a th e r in c lu d e "a ch ea p p a p e r - c o v e r e d 'S h r o p sh ir e L ad'" (p. 4 8 ). The t it le of th e sk e tc h "T he K ingdom of God" (A p r il 26, 1925) r e a p p e a r s in ; th e te x t o f S o ld ie r s ' P a y (p. 2 2 0 ). A nd, fin a lly , " E p iso d e" (A u g u st 16, 1 9 2 5 ) e m p lo y s the im a g e of an in s c r u ta b le , so m e w h a t d e ta c h e d "idol" in r e la t io n to r e a c tio n s of c h a r a c t e r s to c lim a c t ic s itu a tio n s (c f. " E p i- 239 so d e," pp . 1 8 9 -1 9 0 , to SP , pp. 153, 159). In su m m a r y , th en , str o n g r e la tio n s h ip s b e tw e e n S o ld ie r s1 P a y and F a u lk n e r ’s e a r lie r w o r k ca n be tr a c e d c o n s is t e n tly b ack to th e c o m p o s itio n of the M a rb le F au n p o e m s in A p r il, M ay, and June 1919- I h ave a tte m p te d to in d ic a te on ly s o m e of th o se r e la tio n s h ip s h e r e . B y 1925, F a u lk n e r 's lit e r a r y d e v e lo p m e n t w a s u n d erg o in g ch a n g es p e r h a p s m o r e o b v io u s th an the co n tin u in g c o n s is t e n c ie s of su b je c t m a tte r , th e m e , and tech n iq u e in h is w o rk . One of the m o s t s a lie n t ch a n g es w a s at the s a m e tim e one of th e m o s t p a r a d o x ic a l and c o m p le x . I h ave t r ie d to c la r ify in C h ap ter III the in o rd in a te d e g r e e to w h ich F a u lk n er co n tin u ed th rou gh ou t h is lif e to r o m a n tic iz e h is ow n W orld W ar I e x p e r ie n c e s ; and y e t, in th e c h a r a c te r of C adet J u lia n L ow e in S o ld ie r s ' P a y , F a u lk n er m a d e th e y o u th 's r o m a n tic c o n c ep tio n s of w a r - - n o t c o m p le te ly d is s im ila r to h is ow n e a r ly v i e w s - - c l e a r l y la u g h a b le. ! C e c ily S a u n d ers, to o , is m a d e to su ffe r th e brunt of h u m or fo r h e r p it i fu lly u n r e a lis t ic a ttitu d e to w a rd w ar: W hy, I t e ll y o u I s e e n th a t le tte r : a ll the old bunk about k n igh ts of th e a ir and th e r o m a n c e of b a ttle, th a t e v e n th e fa t c r y in g o n es ou tgrow so o n a s th e e x c ite m e n t is o v e r and u n ifo r m s and b ein g w oun ded a in 't o n ly not s t y lis h no m o r e , but it is tr o u b le s o m e , (p. 3 0 ) i C adet L o w e, drunk in a h o te l r o o m w ith th e w oun ded and s lo w ly dying L ieu ten a n t M ahon, th in k s, To h a v e b e e n him', he m o a n ed . J u st to be h im . L et h im tak e th is sound b od y of m in e ! L et h im tak e it. T o h ave got w in g s on m y b r e a s t, to h a v e w in g s; and to h a v e g o t h is s c a r , to o , I w o u ld tak e d eath to -m o r r o w . Upon a c h a ir M a h o n 's tu n ic e v in c e d above th e le ft; b r e a s t p o c k e t w in g s b r e a k in g fr o m a n in itia le d c ir c le b en ea th a cro w n , tip p in g dow n w ard in an a r r e s t e d e m b r o id e r e d sw eep ; a s y m b o liz e d d e s ir e . T o be h im , to h a v e g o tten w in g s, but to have got h is s c a r too! C adet L ow e tu rn ed to th e w a ll w ith p a s s io n a te d isa p p o in tm en t lik e a 240 30 gnaw in g fo x at h is v it a ls . T h e se sta te m e n ts and o th e r s , e v en the o n e s w ith s a t ir ic a l r e le v a n c e , su ch a s " r e a l s o ld ie r s n e v e r lik e to ta lk about th e m s e lv e s " (p. 152), r e ca p itu la te th rou gh w h at a p p ea r s to be a n a r t is t 's m e llo w e d r e t r o s p e c tio n so m e th in g of th e young F a u lk n e r 's m a r tia l p o stu r in g , w h ic h I h a v e d is c u s s e d in C h a p ters III and IV. Y et, p a r a d o x ic a lly , th e t r a g ic a lly r o m a n tic e x te n s io n of w h at F a u lk n er m a y h a v e b e e n -- a n d p erh a p s w h a t he c a m e c lo s e r to b ein g th an w e m a y r e a liz e (I h a v e in m in d S to n e 's sta te m e n t c o n c e r n in g the c r a s h e p is o d e , " so m e ta lk about a s ilv e r p la te in h is h e a d " ) - - is p o s s i b ly e x e m p lifie d in th e c h a r a c te r of L ieu ten a n t M ahon, the o ffic e r r e tu rn in g to h is n a tiv e South in a d r e a m -lik e s ta te . One is in d e e d r e m in d ed o f F a u lk n e r 's ow n h o m e c o m in g and h is a p p ea ra n ce w h ile ch a n g ing tr a in s at H o lly S p rin g s, M is s is s ip p i, an a n ecd o te r e c a lle d by John C u llen and q u oted in C hapter II: "[He w a s ] sta n d in g a s s t i l l as a sta tu e in the r a ilr o a d d ep o t. . . . p a y in g no a tten tio n to anybody or an yth in g. . . ." I b e lie v e th a t th e p a ra d o x p r e s e n te d by th e c h a r a c te r iz a tio n s of L ow e and M ahon r e la t e s to F a u lk n e r 's str u g g le to id en tity ; it can be fu rth e r o b s e r v e d in h is in c r e a s e d r e lia n c e upon a u to b io g r a p h ica l data and h is tu rn in g m o r e d ir e c t ly and c o n s is t e n tly to the su b sta n c e of lo c a l c o lo r . T he r e la tio n s h ip s b e tw e en F a u lk n e r 's p e r so n a , L ieu ten a n t D on a ld M ahon of the R .A .F . (p. 139), and h is own lif e ex ten d to th e t r e a t- ■^P. 33. S e v e r a l o th er p a s s a g e s s im ila r in ton e and in d ic a tin g th e sa m e kind of you th fu l d isa p p o in tm en t at not h avin g s e e n a c tio n or h avin g b e e n r o m a n tic a lly m u tila te d in w a r can b e found in th e n o v el: pp. 34, 37, 38, 112, 120, 130. 241 m e n t of th e N eg ro a s lit e r a r y s o u r c e . D o n a ld 's N eg ro m a m m y r e f e r s to h e r s e lf a s "his o le C a l'lin e ," and in s is t s upon c a r in g fo r him : " h ere yo' m a m m y co m e te r you" (p. 117). F a u lk n e r 's d e d ic a to r y note in Go Down, M o se s (1940) in d ic a te s a d is tin c tly p o s s ib le p ro to ty p e: T o M am m y C a r o lin e B a rr M is s is s ip p i (1 8 4 0 -1 9 4 0 ) Who w a s b o r n in s la v e r y and w ho gave to m y fa m ily a fid e lity w ith o u t stin t or c a lc u la tio n of r e c o m p e n se and to m y ch ild h o o d an im m e a s u r a b le d ev o tio n and lo v e D onald M ahon 's c a r e fr e e p r e -w a r d a y s, h is ir r e g u la r a tten d a n ce at s c h o o l, and h is lo n g w a lk s in th e co u n try and th rou gh th e w oo d s (p. 87) c lo s e ly c o in c id e w ith th e young F a u lk n e r 's e r r a tic b e h a v io r a s a stu d en t 32 and h is lo n g w a lk s about the c o u n tr y sid e su rro u n d in g O xford. T h e re 31 F o r m o r e in fo rm a tio n on th is p o s s ib le p r o to ty p e , s e e B e s s ie F o r d , " F a u lk n ers' S erv a n t N ot F orgotten ," C o m m e r c ia l A p p ea l (M em p h is, T e n n e s s e e ), Ju ly 2 8 ,1 9 6 2 , M is s , s e c ., p. 1. H er to m b sto n e b e a r s th e in sc r ip tio n : " C a llie B a rr C la rk . B orn 1840. D ied 1940. M am m y. H er w h ite c h ild r e n b le s s h e r ." The a r tic le p o in ts out th at John C u llen r e m e m b e r s h e r sta n d in g q u ie tly w a tch in g th e F a lk n e r and O ldham c h il- : d ren p la y a lo n g South L a m a r S tr e e t. " A fter F a u lk n er b e c a m e a s u c c e s s f u l w r ite r , th ey [the F a u lk n e r s] b u ilt C a llie C la rk a p r iv a te r o o m . . . . sh e f e lt th at the fa m ily b e lo n g e d to h e r ." T he a r tic le g o e s on to m e n tio n th at "In a ll lik e lih o o d , C a llie w a s the in s p ir a tio n of D ils e y . . . in 'T h e Sound and the F u ry .' C u llen s a y s m a n y of the tr a it s of fic tit io u s D ils e y w e r e th o se found in C a llie C lark , e s p e c ia lly h e r d ev o tio n to 'h e r ! fa m ily .'" The N e g ro m a m m y in S o ld ie r s' F a y , of c o u r s e , e x p r e s s e s a d eep d ev o tio n to w a rd "M ist' D onald h o n ey ," and in a d d itio n to r e fe r r in g ! to h e r s e lf a s " C a l'lin e," sh e a ls o s a y s , "D onald, baby, lo o k at m e . D on 't you know w ho d is is ? D is yo' C a llie w hat u s e te r put you te r b ed , h on ey" (p. 118, it a lic s added). 32 P h il S tone, In terv iew No. 1. W. M . "M ack" R eed , in ter v ie w ed ; 242 are m a n y oth er p a r a lle ls of a m in o r s o r t b e tw e e n th e p e r so n a of M ahon and F a u lk n er h im s e lf , fo r e x a m p le , th e r e fe r e n c e to M a h on 's fe a tu r e s as " fo x -fa ced " (p. 54), w h ich r e c a lls not on ly p h o to g ra p h ic r e s e m b la n c e s (e s p e c ia lly th o se of th e y o u n g er F a u lk n er) but a ls o S to n e's s ta te m e n t about F a u lk n e r 's s e n s it iv it y o v er h is r e c e d in g lip , m e n tio n e d in C h ap ter IV, an in c e n tiv e fo r h is g ro w in g a m u sta c h e . T hen a g a in , M rs. S a u n d ers' sta te m e n t in S o ld ie r s ' P a y about r e tu r n e d v e te r a n s "who p r o b a b ly w o n 't w o rk an yw ay. You know y o u r s e lf how th e s e e x s o ld ie r s are" (p. 70) sou n d s lik e a str o n g e ch o of s ta te m e n ts m a d e about th e r e a l "C ount N o 'cou n t," e s p e c ia lly a r e c o lle c t io n of F a u lk n e r 's e a r ly p o s t-w a r y e a r s by h is U n cle J. W. T. F a u lk n er , II: "He ju st w ou ld n 't w o r k ." ^ F a u lk n e r 's in c r e a s e d r e lia n c e upon a u to b io g r a p h ica l data, fa r m o re p ro n o u n ced in S o ld ie r s ' P a y th an in any of h is e a r lie r w o rk s o f fic tio n or p o e tr y , b e a r s a fu rth e r r e la tio n s h ip to h is g ro w in g te n d e n c y to tu rn to th e lo c a l c o lo r of h is r e g io n . F a u lk n e r 's str u g g le to id e n tity , as I s h a ll tr y to sh o w , p a r ta k e s of th is te n d en cy as w e ll a s of th e su b sta n c e of a u to b io g ra p h y e m p lo y e d in th e n o v e l. The lo c a le is C h a r le s tow n, G eo rg ia , but it co u ld be "any s m a ll so u th er n tow n" (p. 78) and its life , c lu s te r e d about the cou n ty c o u r th o u se in th e c e n te r of the c ity by m e (O xford , M is s is s ip p i) , 2:40 P .M ., J u ly 2 7 , 1962, m e n tio n e d • F a u lk n e r ’s ro a m in g " a ll o v e r th is c o u n tr y sid e ." B ill H udson, " F a u lk - ! h er b e fo r e 'S a n ctu a ry ,'" C a ro lin a M a g a zin e , 69:1 1 , A p r il 1935, n o te s th at F a u lk n er " e n te r ed sc h o o l at th e age of e ig h t, m a d e fo u r g r a d e s th e ; f ir s t tw o y e a r s , b eg a n to s e e th e fa ilin g s of fo r m a l e d u c a tio n d u rin g his^ th ird y e a r , and . . . d rop p ed out of sc h o o l in th e ten th g ra d e." F o r fu r-: th er o b s e r v a tio n s on F a u lk n e r 's e r r a t ic ed u ca tio n , s e e C hapter II. "^R obert C oughlan, "The P r iv a te W orld of W illia m F a u lk n e r ," L ife, O cto b er 5, 1953, P t. 2, p. 61. 243 sq u a re is a m ir r o r r e f le c tio n of th e to w n in "The H ill" (s e e C hap ter V) and w h at w a s so o n to b e c o m e J e ffe r s o n : C h a r le sto w n , lik e n u m b e r le s s o th er tow n s th ro u g h o u t th e south, had b een b u ilt around a c ir c le of te th e r e d h o r s e s and m u le s . In the m id d le of th e sq u a re w a s th e c o u r th o u s e --a s im p le u tilita r ia n e d ific e of b r ic k and s ix te e n b e a u tifu l Ion ic co lu m n s s ta in e d w ith g e n e r a tio n s of c a s u a l to b a c c o . E lm s su rro u n d ed th e c o u r th o u se and b en ea th th e s e t r e e s , on s c a r r e d and c a r v e d w ood b e n c h e s and c h a ir s the c ity fa th e r s . . . w ho . . . fe a r e d o n ly G od and d routh, in b la ck s tr in g t ie s or th e fa d ed b r u sh e d g r a y and b r o n z e m e a n in g le s s m e d a ls of the C o n fed era te State of A m e r ic a , no lo n g e r h a v in g to m ak e a n y p r e te n s e to w a rd la b o r , s le p t or w h ittle d a w a y th e lo n g d r o w sy d a y s w h ile th e ir ju n io r s of a ll a g e s , not y e t o ld en o u g h to fr a n k ly slu m b er in p u b lic, p la y e d c h e c k e r s o r ch ew ed to b a c c o and ta lk ed . . . . T hey p a s s e d b e n ea th a sto n e sh a ft b e a r in g a C o n fed era te s o ld ie r sh ad in g h is m a r b le e y e s f o r e v e r in e te r n a l r ig id v ig ila n c e . . . . (pp. 7 8 -7 9 ) The d an ce s c e n e at th e h o m e w h e r e , " T h rou gh tw o h e a v y id e n ti c a l m a g n o lia s th e lig h te d p o r c h w a s lik e a stage" (p. 136), th e drug s to r e s c e n e w ith G eo rg e F a r r and C e c ily as tr y s tin g lo v e r s (pp. 148- 1 51), and th e g o s sip in g to w n jo u r n e y s of M r s. B u rn ey " c ra m p e d and n e a t in h e r m e tic u lo u s a ir p r o o f b la c k , h o ld in g h e r co tto n u m b r e lla lik e a flag" (p. 179) g iv e th e so u th e r n tow n a d is tin c tiv e a s w e ll a s a r e p r e s e n ta tiv e a u ra of v a lid ity . So do su ch u n lik e lo c a l c o lo r d e ta ils as the sin g in g N e g r o e s h o ld in g s e r v ic e s in th e ir "shabby ch u rch w ith its ca n t in g tr a v e s ty of a sp ir e " (p. 2 21 ) and th e in tr ic a te m a n e u v e r in g s in v o lv ed in d rin k in g fr o m a ju g of m o o n liq u o r (p. 215). E v e n the d e s c r ip tio n of D onald M ah on 's fu n e r a l p r o c e s s io n r o o ts the a c tio n in to a d is tin c t lo c a le , fu n c tio n a lly str e n g th e n in g its v e r is im ilitu d e : (T he p r o c e s s io n m o v e d s lo w ly a c r o s s th e sq u a r e . C ou n try p e o - ; p ie , in to w n to tr a d e , tu rn ed to s ta r e v a c u o u sly , m e r c h a n t and doctor! and la w y e r c a m e to d o o r and w in d ow to look; th e c ity fa t h e r s , drow s-i ing in th e c o u r th o u se y a r d , h a v in g s u c c e s s f u lly c ir c u m v e n te d se x , h a v in g r e a c h e d th e .p o in t w h e r e d ea th w ou ld lo o k a fter th em in ste a d of th ey a fte r d eath , w a k ed and lo o k e d and s le p t a g a in . Into a s tr e e t, . am on g and b e tw e e n h o r s e s and m u le s te th e r e d to w a g o n s, it p a s s e d , in to a s t r e e t b o r d e r e d b y sh ab b y N e g r o s to r e s and sh o p s, and h e r e w a s L o o sh sta n d in g s tiff ly at sa lu te a s it p a s s e d . "Who d at, L oosh?" 244 " M ist1 D on ald M a h on ." " W ell, J esu s', w e .a ll g w in e dat w a y , so m e d ay. A ll ro a d s le a d s to de g r a v e y a r d ." ) F a u lk n e r 's p r o b le m of id e n tity a s it r e la t e s to h is r e g io n and h is a n c e s t r y and it s e f f e c t s upon h is lif e and w o rk h a v e a lr e a d y b e e n d is c u s s e d in C h a p ters II th rou gh VI; I h a v e tr ie d to sh ow ju s t h ow F a u lk n er m u s t h a v e e x p e r ie n c e d an e x tr a o r d in a r y t e n s io n in tr y in g to id e n tify w ith h is g r e a t-g r a n d fa th e r and h is m a r tia l h e r o i c s - - t h e d o m i n atin g s y m b o l of th e p a s t - - o n th e one han d, and the m o d e r n South w ith it s a n t i-tr a d itio n a l and a m o r a l v a lu e s on th e o th er . I h a v e t r ie d to in d i c a te th at th e d e s ir e f o r r o m a n tic w a r e x p e r ie n c e s w h ic h d ro v e F a u lk n er to e n lis t a s a ca d e t in th e R .A .F . in C anad a, a s w e ll a s th e fa b r ic a tio n of w a r h e r o ic s th ro u g h both m is le a d in g s ta te m e n ts and o m itte d c o r r e c tio n s , w a s m o tiv a te d p r im a r ily b y a c o n s c io u s w is h to e s c a p e th e b a r r e n n e s s o f so u th e r n lif e su rro u n d in g h im and an u n c o n sc io u s n e c e s s it y to id e n tify w ith the o ld C o lo n e l ( s e e C h a p ter s II, III). T hu s, F a u lk n er in so m e of h is m o m e n ts o f r e f le c t io n on h is tr a in in g e x p e r ie n c e s in C a n a -< da and th e c o m in g o f th e A r m is t ic e at ju s t about th e tim e h e w a s to r e c e iv e h is w in g s , m u s t h a v e f e lt a s c h e a te d b y F a te a s C adet J u lia n L ow e in S o ld ie r s ' P a y : "H ad I b e e n o ld en ou gh or lu c k y en ou gh , th is m ig h t h a v e b e e n m e , he th o u g h t je a lo u s ly " (p. 19), lo o k in g a t M ahon. B u t C adet L o w e - - lik e th e r e a l you n g F a u lk n er in m a n y w a y s - - can n ot b e th e h e r o o f th is n o v e l. H is s u ffe r in g is o n ly a r o m a n tic and F a u lk n e r 's tr e a tm e n t o f h is p e r s o n a is ir o n ic a lly p r o p h e tic . S ee th e f i r s t p age of th e O xford E a g le (O xford , M is s is s ip p i) , J u ly 12, 1 9 6 2 , w ith th e c a p tio n " W illia m F a u lk n e r T a k es L a s t R ide T h rou gh The! C ity He L o v e d M o st," on th e le f t of w h ic h is a p h o to g ra p h of h is fu n eral! c o r te g e a s it " m oved s lo w ly a c r o s s th e sq u a r e ," w ith o n lo o k e r s both w h ite and c o lo r e d sta n d in g a lo n g the c u r b s and by p a r k e d c a r s . 245 c o u n te r fe it s u ffe r in g ; it is n o t g e n u in e a s i s M a h o n 's. O n ce L ie u te n a n t M ah on e n t e r s u p on th e s c e n e , C a d et L ow e n o t o n ly is n o t n e e d e d , but M a r g a r e t P o w e r s t e l l s h im , " you w o u ld o n ly be in th e w a y " (p. 38). He g o e s h o m e th e n to r e la t iv e ly r e m o te C a lifo r n ia , and h is o n ly o th er p r e s e n c e in th e n o v e l is e p is t o la r y , s e r v in g th e p u r p o se o f c o m ic r e li e f . T he F a u lk n e r ia n id e n tity s h if t s a s M ahon b e c o m e s th e t r a g ic c e n te r a ro u n d w h ic h th e a c tio n of C e c ily and h e r " je lly b e a n s" an d o th e r a n ti- tr a d itio n a l r e p r e s e n t a t iv e s o r h o p e le s s ly a p a th e tic m o r a lis t s r e v o lv e . C a d et L o w e and L ie u te n a n t M ahon, th en , p o s e a d o u b le and c o n f lic t in g id e n t ific a tio n fo r th e a r t is t . On th e one han d, F a u lk n e r v e r y lik e ly id e n tifie d h i m s e l f c o n s c io u s ly w ith th e c a llo w L o w e; b u t, on th e o th er han d , h e c o n tin u e d to id e n tify h im s e lf th ro u g h th e p e r s o n a of L ie u te n a n t M ahon, p e r h a p s m o r e u n c o n s c io u s ly th an c o n s c io u s ly , w ith -5 C h is h e r o ic g r e a t -g r a n d fa t h e r and th e m a n 's m a r ty r e d id e a ls . Such p r o b le m s of c o n flic tin g id e n t ific a tio n s in a r t i s t s a r e n o t u n co m m o n . A so m e w h a t a n a la g o u s c o n flic t h a s b e e n n o t ic e d b y D r. D a n ie l E . S c h n e id e r in th e a r t i s t M a rc C h a g a ll; th e p r o b le m is a c l o s e en ou g h Q C D a n ie l E . S c h n e id e r , T h e P s y c h o a n a ly s t and th e A r t is t (N ew Y ork , 1 9 5 0 ), d o e s n o t, of c o u r s e , c o n te n d th a t a s e a r c h fo r id e n tity m a k e s g r e a t a rt; b u t h e d o e s p o in t out h ow a g r e a t a r t is t " tr a n s m u te s" ; th ro u g h " in te r p r e ta tio n and a lte r a tio n of w h a t i s r e p r e s s e d and e x ta n t in to a n ew fo rm " (p . 2 9 5 ), and h o w th a t s e a r c h fo r id e n tity i s " u n co n s c io u s an d r e l e n t l e s s l y c o m p u ls iv e " (p. 2 0 8 ). S ee a ls o th e r e la t e d a.rti-\ c le , H e n r y L o w e n fe ld , " P s y c h ic T ra u m a and P r o d u c tiv e E x p e r ie n c e in j th e A r t is t ," A r t an d P s y c h o a n a ly s is , ed . W illia m P h illip s (N ew Y o rk , 1957); h e e x p la in s th a t in su c h c a s e s th e a r t i s t ' s c o n flic ts and t e n s io n s ; " can n e v e r be c o m p le t e ly r e s o lv e d in a c tu a l life ; it r e p r e s e n t s , in a | w a y , a c o n d itio n o f u n a v o id a b le , in h e r e n t fr u s tr a tio n . T h is f r u s t r a t io n | is th e s o u r c e of th e a r t is t 's fa n ta s y , d r iv in g h im a g a in an d a g a in to f o r - ' sa k e d is illu s io n in g r e a lit y and to c r e a te a w o r ld fo r h im s e lf in w h ic h h ei in h is im a g in a tio n , c a n r e a li z e h is d e s i r e s . It f o r c e s h im to s u b lim a tion " (p. 301). 246 p a r a lle l to F a u lk n e r 's ow n to quote D r. S c h n e id e r 's o b s e r v a tio n s : It is th is w id e r a n g e of f e e lin g and th e in e v ita b le w ild c la s h of in t e r e s t s , r e s u ltin g fr o m th e s e c o n flic tin g id e n tific a tio n s , w h ic h p r o m o te th e o b s e s s io n , fo r m e d in h is e a r l i e s t you th , d em a n d in g r e s o lu tio n of th e c la s h in g c o n flic t in t h e s e p o w e r fu l, te n d e r , e c s t a t ic and a b o v e a ll d r e a m -lik e p ic t o r ia l a r r a n g e m e n ts in w h ic h e v e r y ch an ge is r u n g .36 I do n o t w is h to im p ly - - u s in g K enneth B u r k e 's t e r m in o lo g y - - a n " e s s e n t ia liz in g m o d e of in te r p r e ta tio n " to w a rd th e m a n y fa c e ts of F a u lk n e r 's p s y c h e , to is o la t e fr o m th a t c lu s t e r of p r o b le m s o n ly one p r o b le m w ith th e r e s u lt of su b o r d in a tin g a ll o th e r s , and, th u s, to s e e m 37 to " e x p la in th e c o m p le x in te r m s of th e s im p le ." A m a n , au th o r or n ot, d is c o v e r s h is in d iv id u a tio n th ro u g h h is w o r k to b e s u r e , but a ls o in h is d a ily p r o b le m s o lv in g , in h is r e la t io n s w ith fa m ily and fr ie n d s , and in m e e tin g r e a lit y s itu a tio n s . M y p o in t h e r e , of c o u r s e , is not to l i s t a ll su c h p r o b le m s , m u ch l e s s to tr e a t th e m , but r a th e r to c e n te r u p on s ig n ific a n t a u to b io g r a p h ic a l e le m e n ts w h ic h m a y illu m in a te F a u lk n e r 's m o tiv a tio n s in s e le c t in g c e r ta in a s p e c t s of th e p a s t and a d a p tin g th em to th e u s e s o f fic tio n . One m a y a sk how F a u lk n er co u ld , e v e n u n c o n s c io u s ly , id e n tify h im s e lf w ith th e d ea d h e r o (M ahon) r a th e r th a n a liv in g ty r o (L o w e ). A d m itte d ly , an a r t is t u s e s a ll of h is e x p e r ie n c e , a c tu a l and v ic a r io u s , to c lo th e h is in v e n ted c h a r a c t e r s , a n d he n e e d not, as su c h , " id en tify" -*6 p . 2 0 4 . S p e c ific a lly , C h a g a ll's p r o b le m of id e n t ific a tio n in v o lv e d "the lo w lie s t c r e a t u r e s of th e e a r th , s e a , and sky" on th e one han d , and " a t th e o th er e n d of h u m a n fe e lin g . . . h is f o r e fa th e r s n o t on th e s c o r e of r e lig io n bu t on th e s c o r e of the r e lig io u s h is t o r y of h is [ m a r ty r e d p e o p le and of a ll m a r ty r s w ho d e s e r v e d b e tte r ." 37^ " F r e u d --a n d th e A n a ly s is of P o e tr y ," The P h ilo s o p h y of L it e r a r y F o r m (N ew Y ork , 195 7 ), p . 224. 247 w ith th em . But L ieu ten a n t M ahon, " g lo r ifie d " in to s e m ir o b liv io n by w a r , s y m b o lic a lly p o s s e s s e s a kind of a ta v is tic sig n ific a n c e : a c o n s c io u s s e n s e of tr a d itio n a l v a lu e s w h ich F a u lk n er p o s s e s s e d in c o m m o n w ith th e o ld Colonel.^® To one a w a re of su ch v a lu e s th e h e r o ic doom of M ahon is m ea n in g fu l: it is p r e fe r a b le to th e sh a llo w , m a t e r ia lis t ic , and a m o r a l e x is t e n c e of th e C adet L o w e s, th e M r s. S a u n d e r se s, and th e j e l ly b e a n s w ith th e ir g lu e d h a ir , w ho a r e a s s o m a n y b a u b les to be w o r n on C e c ily 's b r a c e le t. Indeed, M ah on 's doom , tr a g ic a s it i s , h a s in v o lv e d a c tio n , m o v e m e n t, and v ita lity , w h ich tr a n s c e n d th e apathy and in e ff e c t u a ln e s s of p e o p le w ith c o n v e n tio n a l v a lu e s w ho m e r e ly d rea m th e ir liv e s aw ay or ta k e one of a v a r ie ty of p h ilo s o p h ic a l r e fu g e s , su ch a s the r e c to r . The lo c a l c o lo r of " C h a rlesto w n ," w h ic h cou ld be "any s m a ll so u th er n tow n ," e v en J e ffe r s o n (or O xford), is th e a p p ro p ria te b ack d rop upon w h ic h to p la y out th e a c tio n . . . . A fte r n o o n la y in a c o m a in the s t r e e t , lik e a w o m a n r e c e n tly lo v e d . Q u iet and w ar: n oth ing now th at th e lo v e r h a s gon e aw ay. L e a v e s w e r e lik e a g r e e n liq u id a r r e s t e d in m id -flo w , fla tte n e d and s p r e a d ; le a v e s w e r e a s though cu t w ith s c i s s o r s fr o m g r e e n p a p er and p a s te d fla t on the a fte r n o o n : so m e o n e d r e a m e d th em and th en fo r g o t h is d r e a m . . . . M on oton ou s w a g o n s draw n by lo n g - e a r e d b e a s ts c r a w le d p a s t . N e g r o e s hu m p ed w ith s le e p , p o r te n to u s upon e a c h w a g o n and in th e w ag o n b ed it s e lf sa t o th er N e g r o e s upon c h a ir s: a p a g a n ca ta fa lq u e u n d er the a ftern o o n . R ig id , a s though O O G e o rg e M a rio n O 'D on n ell, " F a u lk n er 's M y th ology," F a u lk n er: ■ T h ree D e c a d e s of C r it ic is m , e d s . F r e d e r ic k J. H offm an and O lga W. y ic k e r y (M ich ig a n State U n iv e r sity , I960), pp. 8 3 -9 3 . O r ig in a lly pub. in j jThe K enyon R e v ie w , S u m m er 1939, pp. 2 8 5 -2 9 9 - O 'D on n ell ta k e s a s h is ! t h e s is th at F a u lk n e r 's w o rk is "bu ilt arou n d the c o n flic t b e tw e e n tr a d i- i tio n a lis m and th e a n ti-tr a d itio n a l m o d e r n w o r ld in w h ich it is im m e r se d " (p. 83). He r e la t e s S o ld ie r s ' P a y to th is t h e s is on p. 85, but he ■ d o e s n o t t r e a t - - n o r to m y k n o w led g e d o es any o th er s c h o la r - - F a u lk n e r 's p s y c h o lo g ic a l p r o b le m of id e n tity , th e str u g g le to d is c o v e r h is in d iv id u a tio n and the p a r t th at th e p a s t, e s p e c ia lly th at s y m b o liz e d b y h is h n c e s tr y , p la y s in th a t s tr u g g le . T h is p r o b le m of id e n tity ru n s lik e a ste a d y c u r r e n t th rou gh h is e a r ly w o rk . 248 c a r v e d in E g y p t te n th o u sa n d y e a r s a g o . S low d u st r is in g v e ile d th e ir p a s s in g , lik e T im e , . . ■ (p. 105) (it a lic s added) To b e s u r e , th e c a ta le p s y , th e fr o z e n m o m en t, th e s u s p e n s io n of tim e a re a s str ik in g a s th e ir im a g in a l c o u n te r p a r ts in " N octurne" or "The H ill," tr e a te d in C hap ter V; but th e r e i s a ls o a d is tin c t d iffe r e n c e , w h ich is c lo s e ly r e la te d to F a u lk n e r 's lit e r a r y d e v e lo p m e n t. H e r e , th e te n s io n w h ich c h a r a c t e r iz e s th e e a r lie r im a g e s is s ig n ific a n tly r ed u c ed . Indeed, th e r e is a v ir tu a l a b s e n c e of th a t p o la r ity w h ich c o n tr ib u te s to the te n s io n . The w r ite r s e e m s to h ave a c c e d e d to h is m a te r ia l. It is as if the p r o b le m of id e n tity h a s b een e s t h e tic a lly , a lb e it m o m e n ta r ily , r e s o lv e d , so m ew h a t as a p ie c e of a jig s a w p u zz le is fitte d in to it s s u r rou n d in g p a tte r n . The s u s p e n s io n and slo w m o v e m e n t, a s it w e r e , b e lo n g in co n tex t. CHAPTER IX SARTOR IS : HOM E AGAIN F a u lk n e r 's 1925 v o y a g e to E u ro p e took a lm o s t a m on th , fo r th e W est Iv is w a s a fr e ig h te r and la y at a n ch o r at Savannah fr o m Ju ly 11 th rou gh J u ly 14 to ta k e on c a r g o . On A u g u st 2, F a u lk n er d ise m b a r k e d at G enoa. D uring th e r e m a in d e r of th e m on th, h e tr a v e le d o v e r n o rth e r n Italy. He sp en t s o m e tim e at an in n , the P e a c e d'O ro in P a v ia , and liv e d w ith the p e a s a n ts in the s m a ll h a m le t of S o m m a r iv a c lo s e to L ake M a g g io r e . By la te S e p te m b e r , he had tr a v e le d th rou gh S w itze r la n d and w a s liv in g in P a r is at 26 ru e S erv a n d o n i, not fa r fr o m the L u x em b o u rg G a rd en s, w h e r e he sp e n t m u ch of h is f r e e tim e.^ A p h otograp h from th is p e r io d r e v e a ls a m u sta c h e d and b e a r d e d F a u lk n er de p r o f il.^ H is su it, c o m p le te w ith b u tton ed v e s t , a p p e a r s to be of rough tw e e d , and a dark tie i s draw n to a n ea t th ick knot a g a in st a w h ite c o lla r . The r a th e r b le a k -e y e d young m a n a p p ea rs to be s ittin g on a b en ch , h is le g s c r o s s e d . H is r ig h t a rm is b r a c e d on th e b ack or r a il of the b en ch , and th e fo r e fin g e r of th e hand h o o k s th e s te m of a p ip e h e ld to h is lip s . H e s e e m s to have ta k en on "the c o lo r a tio n of the L eft Bank," and lo o k s th e p a rt of an e x p a tr ia te p o sin g fo r a p o r tr a it to be p r in te d on th e dust * C a r v el C o llin s , "About th e S k e tc h e s," W illia m F a u lk n er: N ew O rlea n s S k etch es (N ew B ru n sw ick , 19 5 8 ), pp. 3 1 -3 3 . ^ S ee R o b ert C oughlan, The P r iv a te W orld o f W illia m F a u lk n er (New Y o rk , 1954), p. 6 8 . 249 250 ja c k e t of h is la t e s t n o v e l. H o w ev er, h e la t e r r e fu s e d to c la im any id e n tity w ith the e x p a tr ia te group of th e 'T w e n tie s in P a r is , sta tin g , "I d on 't r e m e m b e r a s in g le S o u th ern er th at had any p a rt in it." A lth ou gh he p r o fe s s e d th at he w a s not in t e r e s t e d in " lite r a tu r e n or lit e r a r y p eo p le" at the t i m e - - th at "I w a s a tra m p th e n " --h e did sta te th a t h e knew about J o y ce: ". . . I w o u ld go to so m e e ffo r t to go to th e c a fe th at he in h a b ited to lo o k at h im . But th at w a s th e on ly lit e r a r y m a n th at I r e m e m b e r s e e in g in E u ro p e in th o se d a y s." ^ W hile in F r a n c e and th e Low C o u n tries, h e a ls o to u red the W orld W ar I a ir b a s e s . H o ra ce L iv e r ig h t’s $200 a d van ce on S o ld ie r s ' 5 P a y en a b led h im to e x te n d h is E u ro p ea n s ta y , but he w a s back in th e U n ited S ta te s by la te 1925 and sp en t the C h r istm a s s e a s o n at h o m e in O xford . A s I m e n tio n e d in C hap ter YIH, th e fou r s k e tc h e s "The L ia r ," 3 In F a u lk n er in th e U n iv e r s ity , e d s . F r e d e r ic k L. Gwynn and J o se p h L. B lo tn e r (C h a r lo tte s v ille , V ir g in ia , 1959), " S e s sio n S even teen ," G raduate C o u r se in th e N o v e l, M ay 13, 1957, p. 136. ^ F a u lk n er in th e U n iv e r s ity , " S e s sio n E igh t," U n d erg ra d u a te C o u r se in C o n tem p o ra ry L ite r a tu r e , M a rch 13, 1958, pp. 5 7 -5 8 . ^C oughlan, T he P r iv a te W orld . . p . 73, is in c o n flic t w ith C o llin s in h is c o n te n tio n th at F a u lk n er le f t fo r E u ro p e, "landing f i r s t in E n glan d , th en ta k in g a w a lk in g and c y c lin g tr ip th rou gh F r a n c e and the Low C o u n tries," and th a t a fte r r e c e iv in g th e $200 fr o m L iv e r ig h t h e th en sa w " p arts of Ita ly and S w itze r la n d ," and th at h e ca m e h o m e b y the tim e S o ld ie r s ' P a y h a d b een p u b lish e d . O' C onnor, The T an gled F ir e of W illia m F a u lk n er (M in n ea p o lis, 1954), p. 30, n o te s th at F a u lk n er w a s in : N ew Y ork in M a rch , 1926, "w hen S o ld ie r s ' P a y w a s to be r e le a s e d ." Ob v io u s ly e ith e r C o llin s or C ough lan is in e r r o r about th e d e ta ils a s w e ll j a s th e d u ra tio n of th e tr ip . I am in c lin e d to a c c e p t C o llin s' c o n c lu sio n s! n ot o n ly b e c a u s e h is in fo rm a tio n is m o r e r e c e n t, but a ls o b e c a u se he o b v io u sly d id m o r e d e ta ile d r e s e a r c h r e la te d to th is p e r io d of F a u lk n e r 's c a r e e r . ^Collins, "About the Sketches," p. 33. 251 " E p iso d e ," "C oun try M ice ," and "Yo H o and Two B o ttle s of Rum" w e r e a ll p u b lish e d in th e T im e s - P i c ayune a fte r F a u lk n er le ft fo r E u rop e. C o llin s p o in ts out th a t F a u lk n er co n tin u ed to w r ite p o e tr y d u rin g h is tr ip fr o m th e tim e th e W est Iv is put to s e a fro m N ew O rlea n s; som e 7 so n n e ts w e r e w r itte n off M a jo r ca and M in o rca , th e n in Ita ly and P a r is . W hile in P a r is he w o rk ed on a n o v el, E lm e r , w h ich he n e v e r fin ish ed ; in it, th e p r o ta g o n ist liv e d a s a b oy in a p la c e c a lle d " J e ffe r so n , M is s is - . n8 s ip p i.” A fte r h is r e tu r n fr o m E urope F a u lk n er b e g a n w ork on a n o v el o r s to r y w h ic h he e n title d "T he D e v il B e a ts H is W ife," but he v e r y soon aban doned it. H is fr ie n d and lit e r a r y a g en t, B en W a sso n , u s e d the t it le fo r a n o v e l of h is own, p u b lish e d in 1929 (M e riw e th e r , p. 8 1 ). B y the autum n o f 1926, F a u lk n er an n ou n ced th e p u b lic a tio n of M o sq u ito es (1 927). D u rin g th e sp rin g of th e sa m e y e a r he s e r v e d in th e c a p a c ity of: g o lf p r o fe s s io n a l fo r the O xford C ou n try Club and w o n an in s c r ib e d pipe; ^ C o llin s, "A bout th e S k etch es," p . 33. O 'C onnor, T he T angled F ir e . . ., p. 29, c o m m e n ts th a t F a u lk n er e x p e r im e n te d u n s u c c e s s fu lly w ith s o m e so n n e ts "w hich h e d is p o s e d of o v e rb o a rd b e fo r e rea ch in g G enoa. 'M ade m e f e e l c le a n ,' he s a id ” (p. 29). T h is m a y b e m o re of th e F a u lk n er b r a v u r a , fo r h e did la te r p u b lish s e v e r a l so n n e ts in a G r ee n B ou g h . One fu rth e r in c o n s is te n c y , as s m a ll a s it i s , should be n oted . O 'C onnor s ta te s th a t F a u lk n er sh ip p ed a b o a rd the W e st Ivis "In June, 1925" (p. 2 9 , it a lic s ad d ed ). A g a in , l a m in c lin e d to fa v o r C o llin s! in fo r m a tio n , w h ic h is both m o r e r e c e n t and d e ta ile d co n c er n in g th is p e-; r io d of F a u lk n e r 's lif e than O 'C o n n o r's. 8 J a m e s B. M e r iw e th e r , The L ite r a r y C a r e e r of W illia m F a u lk - j h e r (P r in c e to n , 196 1 ), pp. 13, 81, s ta te s a s the s o u r c e of h is in fo r m a - j tio n an in te r v ie w w ith F a u lk n er on M a rch 12, 195 8 . F a u lk n er sa id th a t i the u n fin ish ed n o v e l w a s "funny, but n o t funny enough" (p. 8 1 ). The 13 0 — | page m a n u s c r ip t h a s fou r t it le s : " E lm e r ," " E lm e r and M y r tle ," " P o r tr a it o f E lm e r H od ge," and "G row ing P a in s" (pp. 13, 81). It c o m p r is e s j " so m e of th e e le m e n ts of h u m o r and s a t ir e th at h e w a s to u s e in M o s q u ito e s " (p. 13). 252 fo r sh o o tin g a h o le in on e. D uring the su m m e r he w o rk ed in a lu m b e r m ill, in ju rin g a fin g e r ; but of m o r e im m e d ia te in t e r e s t , h e liv e d fo r a tim e in P a s c a g o u la , w o rk in g a s a fis h e r m a n on a sch o o n e r du rin g th e Q day and at nigh t w r itin g M o sq u ito e s . On p a g e 4 6 4 , th e la s t p age of the ty p e s c r ip t of th e n o v e l,is th e n ote " P a sc a g o u la , M iss / 1 Sept 1926" (M eriw eth er, p . 6 4 ). It is q u ite lik e ly th at a good p o r tio n of the sp r in g and su m m e r , if not the p r e v io u s w in te r a fte r h is r etu r n fr o m E u ro p e, w e re sp e n t in w r itin g th e n o v e l. F a u lk n er r e tu r n e d to O xford fo r a sh o rt s ta y in th e autum n of 1926, but sp en t th e w in ter in th e V ieu x Car r e . ^ He and h is tr a v e lin g co m p a n io n a b o a rd the W e st I v is , W illia m S p ra tlin g , p u b lish e d S h erw ood A n d er so n and O ther F a m o u s C r e o le s in New O rlea n s in D e c e m b e r , 1926. John M cC lu re , w r itin g fo r the T im es^ P ic a y u n e , noted th a t F a u lk n e r 's In trod u ction " is a w h im s ic a l in te r p r e - ✓ 11 ta tio n of S h erw ood A n d e r so n 's attitu d e [to w ard ] the V ieu x C a rre." F a u lk n er la te r r e f e r r e d to h is In trod u ction a s b ein g w r itte n "in A n d er - 12 so n 's p r im e r - lik e sty le ." 13 S o ld ie r s' P a y and M o sq u ito e s both s o ld p o o r ly , and by th e tim e that F a u lk n er fin is h e d S a r to r is H o ra ce L iv e r ig h t had c a n c e le d th e ir c o n tr a c t, o r ig in a lly for th r e e book s (C ou gh lan , p. 73). T he 5 9 4 -p a g e ^N oted by C o llin s in "About th e S k e tc h e s," p. 33. ^ C o llin s , "About th e S k e tc h e s," p. 33. ^ N o te d b y M e r iw e th e r , p. 11. ^ " S h e r w o o d A n d erso n ," A tla n tic , 19 1 :2 8 , June 1953. 1 ^ O 'C onnor, The T an gled F ir e . . ., p. 30, n o te s th a t S o ld ie r s' P a y s o ld 2,500 c o p ie s , M o sq u ito e s a m e r e 1 ,2 0 0 c o p ie s , e v e n th ou gh the r e v ie w s w e re g e n e r a lly fa v o r a b le . 253 c a r b o n ty p e s c r ip t of S a r t o r is , th e n e n title d F la g s in th e D u st and ap - J p r o x im a te ly a fo u rth lo n g e r th an th e p u b lish e d v e r s io n , b e a r s a note on th e la s t p age of th e tex t: "O xford, M is s / 29 S ep tem b er 1927" (M e r i w e th e r , pp. 6 4 -6 5 ). T he m a n u s c r ip t w a s fin a lly p u b lish e d b y H a rco u rt, B r a c e in June, 1929, n e a r ly tw o y e a r s a fte r its c o m p le tio n . S e v e r a l e v e n ts co m b in ed to m a k e th is a c r it ic a l p e r io d d u rin g F a u lk n e r 's c a r e e r . F ir s t , h is e x p e c ta tio n s h ad b een u n d ersta n d a b ly h ig h .^ He had p u b lish e d a v o lu m e of p o e tr y , th e N ew O rlea n s p ie c e s , and tw o n o v e ls w h ic h had r e c e iv e d s e v e r a l fa v o r a b le r e v ie w s , e v e n if th ey h ad not m ad e h im m u ch m o n ey . He had fin a lly begun to th in k h im s e lf a s u c c e s s f u l w r it e r . M o r e o v e r , h e w a s co n te m p la tin g m a r r ia g e w ith E s t e lle O ldham , h is ch ild h o o d s w e e th e a r t, w ho h a d d iv o r c e d h e r f ir s t h u sb an d and r e tu rn ed to O xford. The tw o w e r e to be m a r r ie d th e sa m e y e a r th at S a r t o r is w a s p u b lish e d , 1929- The d e la y in p u b lic a tio n had b e e n bad en ou gh , but w h en the b ook ! w a s p o o r ly r e c e iv e d b y the p u b lic F a u lk n e r 's d e je c tio n w a s d eep . P h il S tone r e c a lls th is p e r io d of h is fr ie n d 's lif e v iv id ly . "We th ought w e r e a lly had a book there'." T hen h e e x p la in ed how d if fic u lt ie s and d e la y s p la g u ed th em . F in a lly , S a r to r is w a s p u b lish e d , and d isa p p o in ted u s. I ca n tak e you to th e v e r y p la c e w h e r e w e sto o d . B ill sa id , " I'll n e v e r g e t any ; m o n ey , n e v e r any r e c o g n itio n --" "I to ld h im h e w ould! 'W rite w h a t'll p le a s e you ,' I sa id ." Stone j s m ile d , sh ak in g h is h e a d in c r e d u lo u sly . "You know , I a lm o s t d id n 't b e - j lie v e it m y s e lf th en , but I to ld h im an yw ay. And h e got s ta r te d , too" 14 P h il S tone, In terv iew N o. 1. 254 (I n te r v ie w N o . 1). S to n e to ld F a u lk n e r th at it w a s o b v io u s ly n o t in te n d e d th a t h e b e a " p o p u la r w r it e r ," and th a t he sh o u ld w r ite fo r h im s e lf and t h o s e w h o h a d l i t e r a r y t a s t e and "w ho s u r e ly w o u ld s o m e d a y r e c o g n iz e h is ta le n t" : '"I h a d in m in d F la u b e r t. . . . I n s te a d of c a te r in g to an a u d ie n c e h e w r o te f o r th e a g e s , an d o f c o u r s e th e a g e s d is c o v e r e d h im .' T h e n F a u lk n e r w r o te T he Sound and th e F u r y . T he b ou nd c a r b o n t y p e s c r ip t c o n ta in s on p a g e 392 th e d ate " O c to b er 1928" (M e r iw e th e r , p . 65), a lth o u g h th e b o o k w a s n o t p u b lis h e d u n til on e y e a r la te r ; it w a s a p p a r e n tly w r itte n b e tw e e n th e tim e of th e r e j e c t io n o f S a r to r is by L iv e r ig h t an d it s a c c e p t a n c e b y H a r c o u r t, B r a c e . S a n c tu a r y , ab ou t w h ic h p e r h a p s to o m u c h h a s a lr e a d y b e e n s a id b y to o m a n y c r i t i c s and b y F a u lk n e r h im s e lf , w a s in a ll lik e lih o o d c o m p o s e d b e tw e e n J a n u a ry 1 ft 29 and M a y 1929. A s I L a y D y in g fo llo w e d q u ic k ly . One m a n u s c r ip t o f 107 p a g e s b e a r s th e d ate " 25 O c to b e r 1929" on its f i r s t p a g e an d "11 ; 17 D e c e m b e r , 1929" on p . 1 0 7 , a d a tin g w h ic h w o u ld b e a r ou t F a u lk n e r 's s ta te m e n t th a t th e b o o k " w as w r it t e n in s ix w e e k s . . . b e c a u s e I k n ew ^ C o u g h la n , T he P r iv a t e W o r ld . . ., p . 7 5 . ^ M e r iw e t h e r , p . 6 6 . A m a n u s c r ip t b e a r s th is d a te; a bou nd c a r b o n t y p e s c r ip t o f 359 p p . b e a r s th e n ote " O x fo rd , M is s . / 25 M ay, 1 9 2 9.'1 M a r s h a ll J . S m ith , " F a u lk n e r of M is s is s ip p i," B o o k m a n , 74: 4 15, D e c e m b e r 1 9 3 1 , s t a t e s th a t F a u lk n e r to ld h im h e w r o te S a n c tu a r y ; in 192 8 , b u t F a u lk n e r m a y h a v e b e e n m is u n d e r s to o d . A t a n y r a te , th e j m a n u s c r ip t d a te s a r e b e s t e v id e n c e . j ^ M e r iw e t h e r , p p . 6 5 - 6 6 . A n o th er b o u n d c a r b o n t y p e s c r ip t of : 2 66 p p . c o n ta in s o n p . 265 th e fo llo w in g n o te: " O x fo rd , M is s ip p i [ s i c ] / j J a n u a r y 12, 1 9 3 0 ." T he s p e llin g o f th e s ta te p r o b a b ly r e p r e s e n t s th e ;not in fr e q u e n t e l i s i o n one m a y e n c o u n te r in th e p r o n u n c ia tio n of a n a t iv e . F a u lk n e r e m p lo y e d it in th e d ia lo g u e of th e N e g r o h o r s e t r a in e r N ed in T h e R e iv e r s (N ew Y o rk , 1 9 6 2 ). 18 from th e f ir s t w h ere th at w a s going." T hus, w ith in the sa m e y e a r that S a r to r is w as p u b lish ed F a u lk n er had w r itte n a sig n ific a n t p o r tio n of h is m ajor w ork . W hen I a sk ed P h il Stone w hat hap pened to F a u lk n er b e tw een M o sq u ito es (1927) and The Sound and th e F u ry (1929), h is a n sw er w a s an a sto n ish in g ly sim p le "He w a s w r itin g a ll th e tim e" (In terv iew N o. 1). S a r to r is ,^ h o w e v e r, s e e m s to have b e e n the tu rn in g p oin t in h is fic tio n a l c a r e e r . W hen q u estio n ed about th e a d v isa b le seq u en ce of r e a d ing h is b o o k s, F a u lk n er a n sw e r e d th at it w ould be b e s t to b e g in w ith . . . S a r to r is that h a s the g erm of m y ap ocryp h a in it. A lo t of c h a r a c te r s a r e p o stu la te d in th at book. I'd sa y th a t's a good; one to b egin with.^® In h is In trod u ction to S a r to r is , R ob ert C an tw ell sta te d that the book is "a k ey v o lu m e" and "the one that s e ts th e p attern " fo r a ll F a u lk n e r 's b ook s, co n ta in in g as it d o e s th e p r e se n ta tio n of the S a r to r is , B enbow , ■ and S n op es fa m ilie s in th e tow n of J e ffe r s o n , M is s is s ip p i. F a u lk n er sta ted th at he w a s h alfw ay th rou gh the book w h en > I d is c o v e r e d th at w r itin g w a s a m ig h ty fin e th in g. . . . You co u ld m a k e p eo p le stan d on th e ir hind le g s and c a s t a shadow . I f e lt th at I ; 1 R { In F a u lk n er in th e U n iv e r sity , " S e ssio n T en," an in te r v ie w w ith v is it o r s fr o m V ir g in ia c o lle g e s , A p r il 15, 1957, p . 87. ^ W illia m F a u lk n er (New Y ork, 1953), S ign et ed. O r ig in a lly pub. b y H a rco u rt, B ra ce (N ew Y ork, 1929). F u rth er r e f e r e n c e s to S a r- jtoris w ill be in d ic a te d b y p a g e n u m b ers in p a r e n th e s e s a fter quotations.! !I h ave c h eck ed a ll q u otation s r e fe r r e d to in th is m o re a c c e s s ib le r e - j p rin t a g a in st th o se of th e f i r s t ed itio n and h ave found th em to b e co n - j s is te n t. F a u lk n er in th e U n iv e r sity , " S e ssio n T h ir ty -S ix ," in a ta lk w ith th e U n iv e r sity of V ir g in ia and co m m u n ity p u b lic, M ay 23, 1958, p. 285. 256 had a ll th e s e p e o p le , and a s so o n a s I d is c o v e r e d it I w a n ted to b rin g; th em a ll b ack ? * C a n tw ell s a y s , "H is s to r y is c o n fir m e d b y the lif t in th e q u a lity of h is w r itin g in S a r t o r is ." M y in ten tio n in th is c h a p te r is to e x a m in e th e n o v e l in r e la tio n to F a u lk n e r 's p r e v io u s w o rk s and in co n tin u in g r e la tio n to th e tw o d om in an t th e m e s of h is e a r ly w r itin g , th e n atu re of h is s tr u g g le to id e n tity and th e str o n g s e n s e o f o b lig a tio n to h is S ou th ern p a s t. H o w ev e r , a th o ro u g h su m m a r y of a c tio n and c h a r a c te r iz a tio n s e e m s to be in o r d e r and sh o u ld p r o v e h e lp fu l fo r fu tu re r e f e r e n c e . The n o v e l is d i v id e d in to fiv e p a r ts . In the f i r s t , the r e a d e r is in tro d u c ed to old B a y a rd S a r to r is , w ho c o n v e r s e s w ith a c o n te m p o r a r y of h is fa th e r and h e n c e an e v e n o ld e r m a n , W ill F a lls , w h o h a s w a lk ed in to tow n fr o m th e cou n ty p o o r fa r m . The p r e s e n c e of o ld B a y a rd 's fa th e r , C o lo n el John S a r to r is , is f e lt in the v e r y o ffic e o f th e bank by b oth m en . "He w a s fa r m o r e p a lp a b le than th e tw o old m e n c e m e n te d by a c o m m o n d e a fn e s s to a dead p e r io d . . (p. 27). W ill F a lls h a s r e tu r n e d a p ip e of th e old C o lo n e l's to B ayard : " A p o 'h o u s e a in 't no fitte n p la c e fo r anything of h is 'n . . . . And I'm gw ine on n in e ty -fo ' y e a r old" (p. 2 8 ). The agin g N e g r o S im o n p ic k s up B ayard in the c a r r ia g e th a t the b a n k er fa v o r s "w ith a t e s t y d is r e g a r d of in d u str ia l p r o g r e s s " (p. 2 8 ). S im o n is m o r e a S a r to r is h im s e lf than a m e r e se r v a n t or e m p lo y e e and, lik e old i | B ayard , h e s m o k e s a c ig a r . A s th e tw o d r iv e to th e S a r to r is h o m e, S im on t e lls B a y a rd th a t h is g ra n d so n , a ls o n a m ed B ayard , is h o m e | fr o m th e w a r and th a t he ju m p ed off th e b lin d sid e of th e tw o o 'c lo c k ^ S ig n e t e d ., pp. v i i - v i i i . 257 tr a in " lik e a hobo" (p. 30), A t th e S a r to r is h om e o u tsid e J e ffe r s o n w e m e e t old B a y a rd 's aunt, e ig h t y - y e a r - o ld V ir g in ia Du P r e , a r e la t e r of C iv il W ar s t o r ie s "taking on a m e llo w sp le n d o r lik e w in e" {p. 3 3 ). We le a r n of o ld B a y a r d 's ep on ym , C o lo n el Jo h n S a r to r is ' b ro th er and an a id e -d e - c a m p of J eb Stuart, w h o r e c k le s s ly th rew h is lif e aw ay fo r a ja r of a n c h o v ie s. Y et, w h en A unt Jenny t e l l s the s to r y , rec o u n tin g h a v in g d a n ced a v a ls e w ith Jeb S tu a rt in B a ltim o r e in '5 8 , "her v o ic e [is ] p ro u d and s t ill a s b a n n e rs in th e dust" (p. 40). In h is own b e d r o o m , old B a y a r d 's m in d r e c a p itu la te s th e c o n v e r s a tio n w ith W ill F a lls , p a r tic u la r ly the s to r y of th e old C o lo n e l's d a rin g e sc a p e fr o m the Y a n k ees at th is v e r y h o u se and, oddly ju x ta p o sed , th e s u c c in c t s to r y of old John S a r to r is ' death and h is sta te m e n t of p r o le p tic r e sig n a tio n : " R e d la w 'll k ill m e to m o rr o w , fo r I s h a ll be u n a rm ed . I'm t ir e d of k illin g m en" (pp. 4 3 -4 4 ). In the r e m a in d e r of the s e c tio n , S im on p ic k s up A unt Jenny fr o m B e lle M itc h e ll's p a rty . She and o ld B ayard m e e t at h o m e w h e r e th e y d is c u s s the w ild young B a y a rd , w ho h a s s t ill n ot co m e h o m e . That; n igh t B a y a r d 's g r a n d so n e m e r g e s fro m th e lila c b u sh e s by th e g a rd en fe n c e , a ta ll fig u r e in m o o n lig h t, and m o u n ts the v e r a n d a . To h is g ra n d f fa th e r he r e la t e s th e c ir c u m s ta n c e s of th e death of h is y o u n g er b ro th er John S a r to r is , a ls o a p ilo t, sh o t down by th e G e rm a n s. The f i r s t s e c tio n en d s w ith e ffic ie n t Aunt J en n y m a k in g young B a y a rd d rin k a g la s s of m ilk and go to s le e p . In th e s e c o n d p a rt, w e s e e m o r e o f p o s t-w a r J e ffe r s o n and, in ; i p a r tic u la r , th e S a r to r is e s and th e ir c o lo r e d s e r v a n ts . S im on and E l- ! n o r a 's so n , C a sp ey , a ls o h a s r e tu r n e d fr o m th e w a r . He fla u n ts h is u n ifo r m and t e lls abou t the n ew w a y s: "W ar u n lo o se d de b la c k m a n 's m ouf" (p. 73); and it is not u n til o ld B a y a rd c lo u ts h im th rou gh th e d o o r w ay w ith a p ie c e of sto v e w ood th at S im o n ’s w o r d s sin k in: ” 1 kep' t e ll- in f yo u d em n e w -fa n g le d w a r n o tio n s of y o ’n w a ’n ’t g w in e te r w o r k in d is p la c e ." S im o n 's lo g ic is one of s im p le p r id e in h is r a c e : "Whut us n ig g e r s w an t te r be fr e e fe r , anyhow ? A in 't w e got e z m a n y w h ite fo lk s now e z w e k in su p p o't?" (p. 89)- A s A unt Jen n y c lip s la r k sp u r in h e r ga rd en , th e h e r o in e of the n o v e l, N a r c is s a B enbow , is in tro d u ced . A s the tw o e n te r th e S a r to r is p a r lo r , th e p r e s e n c e of the o ld C o lo n el is once m o r e r e a l. Young B a y a rd r e m e m b e r s th e fu r n itu r e as lo o m in g w ith " g h o stly b en ig n a n ce" (p. 71). W hen N a r c is s a m e e t s B ayard in the p a r lo r , sh e r e m e m b e r s once m o r e h is " le a sh e d co ld v io le n c e " {p. 83). The a c tio n s h ifts , and young B a y a rd r e tu r n s fr o m M em p h is, s e v e n ty m ile s aw ay, w ith a n ew c a r . O ld B a y a rd t r ie s to k eep h is g ra n d so n fro m d r iv in g r e c k le s s ly by g o in g w ith h im on h is m ad r id e s about the c o u n tr y sid e . In a n o th er s c e n e o ld B a y a rd o p en s the fa m ily tru n k w h ich j c o n ta in s the p e r s o n a l e ffe c ts of th e old C o lo n e l, h is b r o c a d e d u n ifo r m , ; a r a p ie r , a c a v a lr y sa b e r , a p a ir of s ilv e r -w r o u g h t d u elin g p is to ls in a i r o se w o o d c a se , a b lu e a r m y fo r a g e -c a p of th e 'fo r tie s and a M ex ic a n m a c h e te , and a " lo n g -n e c k e d o il- c a n su ch a s lo c o m o tiv e d r iv e r s u se " (p. 95), w h ich i s a s ilv e r tro p h y w ith the date " A ugu st 9, 1873." B ut old' B a y a rd i s lo o k in g fo r the fa m ily B ib le in w h ich he e n te r s the n a m e s and death d a te s of yo u n g John S a r to r is and you n g B a y a rd 's w id ow and in fan t j so n w h o d ied a y e a r b e fo r e . In th e r e m a in d e r of th is p a r t of th e n o v e l, j Jen n y ta k e s old B a y a rd to th e to w n 's new p h y sic ia n , D r. A lfo rd , to have! a tr o u b le so m e f a c ia l w en ex a m in ed ; but ju st a s D r. A lfo r d s u g g e s ts op -' i e r a tin g im m e d ia te ly , the old fa m ily d o cto r L u ciu s P e a b o d y in te r c e p ts th e m , le a d s o ld B a y a rd aw ay, and t e lls h im to le a v e the w e n a lo n e. In a n o th er s c e n e , one of th e S n op es fa m ily w ho h a s m a n a g ed to g a in a p o s it io n in the S a r to r is bank w r it e s a n on ym ou s lo v e le t t e r s to N a r c is s a th ro u g h an a m a n u e n s is, you n g V ir g il B ea r d . A g a in , the g h o s tly p r e s e n c e of the o ld C o lo n el is f e lt a s S im on p u tte r s ab ou t the h o m e p la c e , and h is y o u n g er so n , Iso m , n o te s , "P appy out dar ta lk in ' to O le M a r ste r a g a in " (p. 1 1 2 ). S im o n 's str a n g e m o n o lo g u e r e v e a ls th at h e is d istu rb ed at th e w a y th in g s h ave ch a n g ed . A s co u n terp o in t to S im o n 's p a th etic m o o d , B a y a rd ta k e s h im fo r a d a rin g r id e in h is n ew c a r, b u t th e old N e g r o is s o fr ig h te n e d th at he g e ts out and w a lk s h o m e . Y oung B a y a rd , a sh a m e d and r e s t l e s s , m e e ts a m e m b e r of the M a cC a llu m fa m ily w ho in v ite s h im out to th e c o u n try fo r a hu nt. T h ey d rin k , d is c u s s the d a y s o f o th er h u nts b e fo r e th e w a r , and th e w a r it s e lf . B a y a rd , h a v in g drunk to o m u ch , a lm o s t g e ts in to a fig h t in a drug s to r e , but M a cC a llu m c o a x e s h im aw ay. S till, B a y a r d 's v io le n t n atu re i s not to b e su p p r e sse d ; h e in s is t s on rid in g an u n ta m ed s ta llio n b r id le d w ith nothing m o r e th an a r o p e h a c k a m o r e , is th ro w n , and k n o ck ed u n c o n sc io u s . D r. P ea b o d y b a n d a g e s h im and b r in g s h im around, but B a y a rd w ill not go h o m e. In- ' s te a d he g o e s rid in g and d rin k in g in th e co u n try . In a m e m o r a b le s c e n e , B a y a rd , h is fr ie n d s , and N eg ro m u s ic ia n s d rin k m o o n liq u or; j th e y rid e o v e r the h ills in c o ld s ilv e r m o o n lig h t, sto p in th e sh ad ow s to I se r e n a d e N a r c is s a , and d is p e r s e at th e c o u r th o u se , w h e r e , a c co r d in g to; i Aunt J en n y 's o r d e r s , a p o lic e m a n a r r e s t s B a y a rd . ! H o r a ce B en b o w 's r e tu r n fr o m th e w ar in tr o d u c e s th e th ird p a r t : of th e n o v e l. H is s is t e r , N a r c is s a , m e e t s h im , and the tw o d is c u s s th e ; S a r t o r is e s . "Funny f a m ily ," H o ra ce o b s e r v e s . "A lw ays g o in g to w a r s , and a lw a y s g e ttin g k ille d " (p. 153). H o ra ce i s a s e n s it iv e , in te llig e n t, w e ll- r e a d , f o r m a lly e d u c a te d (S ew a n ee and O xford ) y o u n g m an , w h o v e r b a liz e s lik e a p o e t. D e s c r ib e d a s a la w y e r " p r in c ip a lly th ro u g h a s e n s e of d u ty to th e fa m ily tr a d itio n " {p. 160 ), h e is s o o n " e a s ily in to th e r o u tin e o f d a y s b e tw e e n h is o f f ic e and h is h om e" (p. 163). A n a ffa ir is r e v e a le d b e tw e e n H o r a c e and B e lle M itc h e ll. F o r a tim e you n g B a y a r d im p r o v e s h is w a y s, b u t h e f in a lly w r e c k s h is c a r in a c r e e k . Tw o N e g r o e s e v e n tu a lly r e s c u e h im and ta k e h im b a c k to J e f f e r s o n in th e ir w a g o n . A s h is b od y m e n d s , N a r c is s a n u r s e s h im and t h e ir r e la tio n s h ip d e e p e n s . W h en he is on h is fe e t a g a in , he m a k e s a n o th e r r e c k le s s g e s tu r e in a c a r , a fte r w h ic h a p a s s io n a te lo v e s c e n e e n s u e s w ith N a r c is s a . T w o o th er s c e n e s a r e of m a jo r in t e r e s t in th e s e c tio n , one in v o lv in g W ill F a lls , w h o a p p lie s a h o m e - r e m e d y o in tm e n t to o ld B a y a r d 's w en . T h e tw o d is c u s s the o ld C o lo n e l an d th e h e r o ic s of " a n c ie n t p h a n to m s" o n c e a g a in . A s th e p a u p e r p r e d ic t s , the w e n d ro p s o ff o ld B a y a r d 's fa c e | a fe w d a y s la t e r . T he s e c t io n c o n c lu d e s w ith th e sk u lk in g S n op es b r e a k f in g in to th e B en b ow h o m e and s t e a lin g the le t t e r s w h ic h N a r c is s a h a s 1 in d is c r e e t ly s a v e d . P a r t F o u r o p en s w ith a c o m ic a l lo c a l c o lo r e p is o d e . S im o n 's c h u r c h c o m m itte e c o m e s to the S a r to r is h o m e r e q u e stin g a r e tu r n of th e fu n d s w ith w h ic h h e w a s e n tr u s te d and w h ic h he n o lo n g e r h a s . W hen a sk e d w h a t h e d id w ith the m o n e y , S im o n r e p e a ts , " H it's a ll right.! j L . . I j e s ' p u t it out, s o r t of" (p. 2 3 6 ). A p a s t o r a l a u tu m n in te r lu d e f o l- ; lo w s , c o n ta in in g p a s s a g e s w h ich a r e str o n g e c h o e s o f S h erw o o d A n d e r - ! s o n 's "A M e e tin g S o u t h . N a r c i s s a and B a y a r d h a v e m a r r ie d , and ^ A n d e r s o n , "A M eetin g S outh," D ia l, 7 8 :2 7 7 -2 7 8 , A p r il 1925, 261 N a r c is s a is p reg n a n t w ith a baby w h o m , a s M is s J en n y r e it e r a t e s , " W e'll n am e . . . John" (p. 2 3 8 ). S om e of th e lo c a l co lo r s c e n e s include; a d e s c r ip tio n of a m u le -p o w e r e d can e m ill, a k in d of ly r ic a l tr ib u te to the m u le it s e lf (pp. 2 3 9 -2 4 0 ), h a r v e s t s c e n e s in m o o n lig h t and fir e lig h t, a v iv id p o ssu m hunt, a h ap p y T h a n k sg iv in g d in n er w ith a p o n d e r o u sly la d e n ta b le . Y et, B a y a rd in c r e a s in g ly is o la t e s h im s e lf fr o m N a r c is s a . E v en a s sh e c lin g s to h is " r ig id bod y," th e r e is "a gh ost b e tw e e n them " (p. 2 5 3 ). The id y llic in te r lu d e en d s a s B ayard , a g a in d r iv in g r e c k le s s ly , p r e c ip ita te s h is g r a n d fa th e r 's h e a r t a tta ck . E sc a p in g to th e co u n try on h o r s e b a c k , B a y a rd a tte m p ts to p u rg e h im s e lf in th e w in te r h u n ts at the M a c C a llu m s. T he im a g e s of w in te r a r e c o ld ly e ffe c tiv e ; but e v en the fr ig id n ig h ts of s le e p fa il to a s su a g e th e s e n s e of g u ilt B a y a rd f e e ls as th e r e stilt of th e d ea th s of o ld B ayard and h is y o u n g er b r o th e r , John, in w h o se p la c e , he th in k s, h e sh o u ld h a v e b e e n k ille d . Im a g es of c o ld and I h a s h is p e r so n a D avid , w ho b e a r s m a n y s im ila r it ie s to th e you n g Faulk-!, n er o f the p e r io d (s e e Ch. VII), r e la te an a u tu m n al d e s c r ip tio n of h is f a th e r 's p la n ta tio n m u ch lik e th e co u n try B a y a rd v i s i t s . A n d e r so n , h o w - i e v e r , in t e r s p e r s e s h is ow n n a r r a tiv e r e m a r k s: "'In the f a ll it 's b e s t,' h e s a id . 'Y ou s e e the n ig g e r s a r e m a k in g m o la s s e s .' E v e r y n e g r o cab-i in on th e p la c e h ad a lit t le clu m p of ground b a ck of it w h e r e can e g rew \ and in th e f a ll th e n e g r o e s w e r e m a k in g th e ir ' l a s s e s . . . .' T he n ig g e r s @ing. T h ey la u g h and sh ou t. S o m e tim e s th e you n g n ig g e r s w ith th e ir g a ls m a k e lo v e on the d ry ca n e p ile . I can h e a r it r a ttle .'" j F a u lk n e r 's s c e n e in S a r to r is i s m o r e th o ro u g h ly d e ta ile d , c o n - ; ta in s th e tr ib u te to the m u le (pp. 2 3 9 -2 4 0 ), and d iffe r s , to o , in th at N a r -| c i s s a a c c o m p a n ie s h im , but en ou gh o th er p a r a lle ls a re p r e s e n t to m ak e; pne s u s p e c t A n d e r so n a s s o u r c e , e s p e c ia lly s in c e F a u lk n er d e d ic a te d \ th e n o v e l to h im . P e r tin e n t e x c e r p ts fo llo w : [In th e fa ll] "the n e g r o e s ; b ro u g h t th e ir ca n e and m a d e th e ir co m m u n a l w in te r so rg h u m m o la s s e s .! L . . th e sh a rp , su b tly e x c itin g odor o f fe r m e n ta tio n and of b o ilin g m o - | l a s s e s . B a y a rd lik e d th e s m e ll of it. . . . S o m e tim e s [the N e g r o e s ] san g --q u a v e r in g , w o r d le s s c h o r d s in w h ich p la in tiv e m in o r s b le n t w ith m e l-; low b a s s . . . . in sh ad ow y b e d s am on g th e d ry w h isp e r in g c a n e -s ta lk s ' y o u th s and g ir ls m u rm u r ed and g ig g led " (pp. 2 3 8 -2 4 1 ). 262 d ea th d o m in a te th e se b u c o lic s c e n e s . He sp en d s C h r istm a s E ve in a N e g r o 's s ta b le , m ak in g h im s e lf a n e s t in the h a y . The C h r istm a s s c e n e w h ic h fo llo w s th e n ex t day, as B a y a rd s h a r e s h is jug of liq u o r w ith th e N e g r o e s and th e y th e ir C h r istm a s d in n er of p o ssu m , y a m s , g ra y a s h c a k e , and c o ffe e w ith h im , is lo c a l c o lo r of a r t is t ic p u r ity . P a r t F iv e c o m m e n c e s w ith a le t t e r to N a r c is s a fr o m H o r a c e , w h o h a s a p p a ren tly gone aw ay w ith B e lle M itc h e ll. S till a ttem p tin g to e s c a p e h is g u ilt, B ayard h a s le ft J e ffe r s o n , w h ile at h o m e N a r c is s a and M is s Jenny r e c e iv e r a r e p o st c a r d s . The s e n s e of th e p a s t p e r v a d e s N a r c is s a 's th ou gh ts a s sh e f e e ls th a t A unt J en n y "is tr y in g to m a k e m e one of th em ; to m ake m y ch ild ju st a n o th er r o c k e t to g la r e for a m o m e n t in th e sk y , th en d ie aw ay" (p. 300). W hen B ayard t e s t s the a i r p la n e of a w ild - e y e d in v e n to r, he fin a lly d is c o v e r s the d ea th he h a s b e e n s e e k in g . Ir o n ic a lly , on the day th e baby is born, A un t Jenny r e c e iv e s the n e w s of B a y a r d 's d eath . In a p rou d d isp la y of c o n tr o lle d g r ie f the o ld la d y a v o w s, "Thank G od th a t's th e la s t o n e. F o r a w h ile , anyw ay" (p. 309). S im on , h o w e v e r, is r e a lly the la s t S a r to r is to d ie , in a g e stu r e of b ath os r a th e r than p a th o s: he is found in th e h om e of a young c o lo r e d g ir l, h is " g r iz z le d h e a d c r u sh e d in by a b lu n t in str u m e n t a n o n y m o u sly w ield ed " (p. 309). T he n o v e l c o n c lu d e s w ith Aunt J e n n y 's j v i s i t to th e c e m e te r y w h e r e sh e h o v e r s b e n ig n ly o v er th e m a r b le d a r - r o g a n c ie s o f th e S a r to r is in s c r ip tio n s: la s t of a ll the o ld C o lo n e l's sta tu e sta n d s above h e r , h is h ea d " lifte d a lit t le in th at g e stu r e of ; i h au gh ty p r id e w h ich r e p e a te d it s e lf g e n e r a tio n a fter g e n e r a tio n w ith a I 1 i fa te fu l f id e lit y . . ." (p. 313). B a ck at th e S a r to r is h o m e p la c e , N a r c issa ! in fo r m s A unt Jenny th a t h e r b a b y 's n am e is n ot "John," but "B enbow 263 S a r to r is ." N a r c is s a p la y s th e p ia n o . A u n t J en n y a s k s , "Do y o u th ink y o u ca n ch a n g e one of 'em w ith a nam e?" (p. 317), and th is r h a p so d ic p a s s a g e fo llo w s: The m u s ic w en t on in th e dusk s o ftly ; th e d u sk w a s p e o p le d w ith g h o sts of g la m o r o u s and o ld d is a s tr o u s th in g s. A nd if th e y w e r e ju s t g la m o r o u s en ough , th e r e w a s su re to b e a S a r to r is in th e m , and th en th e y w e r e su r e to b e d is a s tr o u s . P a w n s. But th e P la y e r , and the g a m e He p la y s . . . H e m u s t h ave a n a m e fo r H is p aw n s, th ou gh. B ut p erh a p s S a r to r is i s th e g a m e i t s e l f - - a g a m e ou tm od ed an d p la y ed w ith p aw n s sh a p ed to o la te and to an o ld dead p a tte rn , an d of w h ic h th e P la y e r H im s e lf i s a lit t le w e a r ie d . F o r th e r e is d ea th in the sou n d of it, and a g la m o r o u s fa ta lity , lik e s ilv e r p en n on s d o w n ru sh - in g at s u n s e t, or a d yin g f a ll of h o rn s a lo n g th e road to R o n cev a u x . (p. 317) W ithin th e n o v e l one fin d s a co n tin u in g r e lia n c e upon d e v ic e s and th e m e s u se d and d e v e lo p e d in F a u lk n e r 's p r e v io u s w ork; t h e s e can b e tr a c e d b a ck to th e c o m p o s itio n of the M a rb le F au n p o e m s, t e n y e a r s b e fo r e S a r to r is w a s p u b lish e d . R om an tic d e s c r ip tio n s of n a tu r e c o n v e r g e w ith a fr e q u e n tly p a s to r a l m o d e . G arden s c e n e s a r e in t e r s p e r s e d th rou gh ou t th e n o v e l, and th e fa m ilia r im a g e s of m o o n lig h t, flo w e r s , b ir d s , b e e s , and th e p r o te a n g ir l-p la n t r e c u r . A s in the e a r l i e s t v o l u m e , m a r b le im a g e s t h e m s e lv e s co m b in e w ith the c o lo r im a g e of g r a y to e m p h a siz e th e th e m e s of m u ta b ility and the p a s t. T hus, a s Aunt J e n n y v is it s the J e ffe r s o n c e m e te r y , she fin d s " m a rb le sh a p e s b e a r in g n a m e s" (p. 312) o v er w h ich " d o v es c r o o n e d th e ir e n d le s s r is in g in f le c tio n s" (p. 313). In B a y a r d 's fr e e z in g s le e p at th e M a c C a llu m s, in w hich! 2 4 ^ h e is r ig id ly su sp e n d e d in a k in d of p u rg a to ry b e tw e e n life an d death, 2 3 j F o r th e g a rd en and flo w e r im a g e s , s e e pp. 58, 6 5 , 223, 317; ; m o o n lig h t im a g e s , pp. 57, 60, 62, 135, 136, 145, 286; a v ia n im a g e s , p p . | 137, 194, 313; g ir l-p la n t im a g e s , p. 49. ^ R ic h a r d C. C a r p e n te r, " F a u lk n er 's 'S a r to r is ,'" E x p lic a to r , 1 4 :item 41, A p r il 1956, a d v a n ce s the t h e s is th at, a fte r B a y a rd " d ou b les ! 264 he is su rro u n d ed w ith g ra y im a g e s (pp. 2 7 3 -2 7 4 ) u n m ista k a b ly r e la te d to the p a s t and to d eath . E v e n the t r e e s and h o m e ly sh a p e s a r e " lik e sad g h o s ts in th e c h ill c o r p s e -lig h t" (p. 2 7 3 ). S leep , a s fo r the m a r b le faun, i s an e s c a p e fr o m B a y a r d 's te n sio n : "It c o m e s to a ll . . . h is tir e d h e a r t c o m fo r te d h im , and at l a s t he slep t" (p. 274). A nd fin a lly , w hen N a r c is s a r e a d s to th e b e d fa st you n g B a y a rd and th e sh ad ow s len g th en , sh e is " lo s t fr o m m u ta b le th in g s" (p. 224). One fin d s e c h o e s of th e M is s is s ip p ia n w o r k s th rou gh ou t the n o v e l. B a y a r d 's s e m i- o b liv io u s a tten tio n to B uddy M a c C a llu m 's s to r y su g g e s ts lin k a g e s to th e im a g e s and th e m e of "C athay," a n a ly z e d in C hap ter IV: It w a s a v a g u e, d r e a m y s o r t of t a l e , w ith o u t b eg in n in g or end and f ille d w ith stu m b lin g r e f e r e n c e s to p la c e s w r e tc h e d ly m isp r o n o u n c e d - - y o u got an im p r e s s io n of p e o p le , c r e a tu r e s w ith ou t in itia tiv e or b ack grou n d or fu tu re, ca u g h t t im e l e s s l y in a m a z e of s o lita r y c o n flic tin g p r e o c c u p a tio n s , lik e bu m ping to p s, a g a in st an im m in e n t but in c o m p r e h e n s ib le n ig h tm a r e , (p. 271) ( it a lic s added) L ike th e " W a n d erers" of " C ath ay," Buddy M a cC a llu m , a co u n try m a n , can be v ie w e d in th e p a s to r a l co n te x t of th e sh e p h e r d s ten d in g th e ir ; flo c k s am on g th e ru in s of a v a n ish e d c iv iliz a tio n ; but B a y a rd , id e n tify ing w ith th e " in itia tiv e" and "background" of C o lo n el Jo h n S a r to r is , is h is g u ilt" by p r e c ip ita tin g h is g r a n d fa th e r 's h e a r t a tta ck (b ein g th e o ld - i br, he ra th e r th a n young Joh n , " sh o u ld h a v e s a c r if ic e d h im s e lf to th e S a r to r is co n c ep t o f g la m o r o u s c o u ra g e in W orld W ar I"), th e r e a d e r e x p e c ts " so m e th in g m o r e o r l e s s d r a m a tic to happen." C a rp en ter th en | c o m p a r e s B a y a r d 's s u ffe r in g fro m d e a d ly c o ld in the c o u n try to C an tos j 32 and 33 of D a n te 's In fern o " w h ere th e d a m n e d --th o s e w h o h a v e b e - j tr a y e d tr u s t, e s p e c ia lly U g o lin o , w h o h a s b e tr a y e d h is k in d r e d --a r e e te r n a lly im p r is io n e d in ic e to th e ir n e c k s . B a y a rd h a s b e tr a y e d h is j fa m ily th rou gh h is a lo o fn e s s and s e lf - r e g a r d ." C a rp en ter th en p o in ts | but th a t the s u ffe r in g is u n n e c e s s a r y "from a n a tu r a lis tic p o in t of v ie w , i sin c e h e n eed o n ly a c ce p t B uddy M a c C a llu m 's o ffer of w a r m w o o le n un -i elerw ear. . . . F a u lk n e r 's " le it m o tif is co ld ." I cau gh t in th e te n s io n a l c la s h b e tw e en tw o u n re a c h a b le id e n titie s . " N oc tu rn e," d is c u s s e d in C hapter V, a n tic ip a te s the te r p s ic h o r e a n and p a - p ie r -m S c h ^ im a g e r y o f the C h r istm a s d a n c e im a g in e d by B a y a rd w ith its p a p er b e lls and p a p er s t r e a m e r s , and, in the m id s t of h is r e v e r ie , the s ilh o u e tte d im a g e of " y e llo w fla m e . . . s te n c ile d on the tw ilig h t" (p. 2 9 3 ). E c h o e s of F a u lk n e r 's f ir s t lo c a l c o lo r p r o s e p ie c e , "The H ill," tr e a te d in C h ap ter Y, a r e o b v io u s in the te c h n ic a l u s e of sun and shadow to in d ic a te slo w m o v e m e n t, a s B ayard a n d th e N e g ro go tow a rd tow n, "Out of th e su n th e y d e s c e n d e d in to v io le t shadow " (p. 293). A g a in , one d e ta il of the tow n d e s c r ib e d in "The H ill," th e " r e v e r b e r a tio n o f an an v il," is r e p e a te d in S a r to r is (p. 154). T h e s le e p y to w n in "The H ill," a fa m ilia r p la c e w ith it s c o u r th o u se co lu m n s " d isc o lo r e d and s ta in e d w ith c a su a l to b a c c o ," and an o c c a s io n a l h o u se w ith "a th r e a d of sm o k e b a l a n c e d p r e c a r io u s ly up on a ch im n ey " a n tic ip a te s J e ffe r s o n in S a r to r is w ith its c o u r th o u se , its to b a c c o -c h e w in g c o u n try m en (p. 153), and o v er th e t r e e s in the tw ilig h t "a c o lu m n of s m o k e stood lik e a b a la n ce d p lu m e" (p. 135). A G reen B ou gh , d is c u s s e d in C h a p ter VI, is e ch o ed s e v e r a l tim e s in S a r to r is th rou gh b o th tech n iq u e and th e m e . The un iqu e n e g a - : tiv e v e r b c o in a g e s o f p oem X X V I (" U n p rob es," "unblend," "undrow n") a n ticip a te th e e q u a lly u n u su a l noun c o in a g e s of the n o v el: " u n a s s e r tion " (p. 163), " u n illu sio n " (p. 175), and " u n em p h a sis" (p. 194). J u st asj " p a r is / t a s t e s h is b itte r th u m b s" in p o e m XXXII, H o ra ce B en b ow in ; S a r to r is ca n " p lay to any c u e a t a m o m e n t's n o tice w h ile th e y o u n g er 1 j m e n chew th e ir b itte r th u m b s in the w in g s" (p. 1 7 4 ). The fe m in in e f ig - | u r e of p o em II (p. 14) p la y in g th e piano in th e ro o m at du sk is r e c a p itu -j 266 1 la te d in s e v e r a l d e ta ils a s N a r c is s a p la y s th e p ia n o in th e n o v e l (pp. 3 1 7 -3 1 8 ). T h e ea rth m o tif of p o e m X LIV is a n tic ip a te d in B a y a rd 's " su b m er g e d . . . m o n o to n y of d a y s" a s, fo r one of the fe w t im e s , h e is 2 5 c h a r m e d in to a rou tin e o f a c t iv it ie s c lo s e to th e e a r th (p. 182). S im ila r ly , the N ew O rlea n s s k e tc h e s s u g g e s t im a g e s , d e v ic e s , and th e m e s w h ic h ap p ea r in S a r t o r is . The C a e sa r im a g e of " M ir r o r s of C h a r tr e s S treet" (p. 57) is r e c a s t in the n o v e l w h ile S im on w a tc h e s * 1 o v e r th e T h a n k sg iv in g ta b le "a$ C a e s a r m u st h a v e sto o d lo o k in g dow n in to Gaul" (p. 252). In "T he R o sa r y " a tune " sp illin g th e d u sty s p a r r o w s tu m u lto u sly fro m th e e a v e s " (p. 128) a n tic ip a te s th e p ic to r ia l s c e n e of an Indian m a id e n h old in g a g u ita r and a r o s e w h ile " dusty sp a r r o w s s a t on the w in d ow le d g e . . ." (p. 108) in S a r to r is . A s th e jo c k e y in " C h eest" ta k e s a g ir l's g a r te r "kind of fo r lu c k or so m eth in g " (p. 96), so is B ayard j u s t b e fo r e h e ta k e s off in the in v e n to r 's p la n e o f- ; fe r e d "a w o m a n 's g a r te r " (p. 3 06). S im ila r to Joh n n y's g ir lfr ie n d in "The Kid L ea r n s" w ho w a ils " O -o -o -o h , h e s c - s c a r e d m e s -o " (p. 165),! B a y a rd 's N a r c issa ! m o a n s , "Y ou s c a r e d m e s o bad" (p. 2 18). F in a lly , the r e lig io u s m o tif w ith it s p a r a lle l to C h r ist in "Out of N azareth " e m e r g e s a g a in m o re in d ir e c tly a s B ayard s le e p s in the h ay of a sta b le on C h r istm a s E v e (pp. 2 8 8 -2 8 9 ). A g r e a t m an y p a r a lle ls of c h a r a c te r , s c e n e , and F r e n c h Sym bol-j t j 25 j O th er p a r a lle ls b e tw e en S a r to r is and a G reen Bough to o nu - I m e r o u s to d e ta il in th e te x t a r e , of c o u r s e , p r e s e n t . A m ong th em a r e J the fo llo w in g : th e th e m a tic r e la tio n s h ip in v o lv e d in m a n " co zen in g " h is j body (S a r t o r is , p. 148 and p oem VI); the im a g e of d row n in g in r e la tio n t o ! s e x (S a r t o r is , p . 223 and p o em XIX); and a p a r a lle l of p h ra sin g involving! the lin k a g e o f so rr o w w ith an im a g e of w o o d sm o k e (in S a r to r is , p . 238, f'an a n c ie n t sa d n e s s sh a r p as w o o d sm o k e on th e w in d le s s air"; and in j p o em X X X V , "An old so r r o w sh a r p as w o o d sm o k e on th e a ir ." 267 i s t im a g e r y in v o lv in g s y n e s th e s ia , fa in t s u g g e s tio n , and h ig h ly r e fin e d e x p r e s s io n e x is t b e tw e e n S o ld iers* P a y and S a r t o r is . W ith a tw is t C e c ily S a u n d ers' d e s c r ip tio n b e c o m e s N a r c is s a 1 s: C e c ily N a r c is s a th e c a lle r t a ll in a w h ite d r e s s b e s id e h e r . . . a ll th e im p a lp a b le v e i l of th e im m e d ia te . . . a g ir l w ith a b r o n z e s w ir lin g of h a ir and a s m a ll, sup p le body in a co n sta n t e p ic e n e u n r e p o se , a d y n a m ic fix a tio n lik e th a t of c a r v e n s e x le s s fig u r e s cau gh t in m o m e n ts of a c tio n , s tr iv in g , a m e c h a n ism a ll of w h o se m e m b e r s m u st m o v e in p e r fo r m in g th e m o st t r iv ia l a c tio n , h e r w ild han d s not a c c u sin g but p a s s io n a te s t ill b eyon d th e v e il im p a lp a b le but su ffic ie n t, (p. 68 ) A s B a y a rd and h is fr ie n d s of th e nigh t sin g b elo w N a r c is s a 1 s w ind ow , h e r th ou gh ts a re c a s t in the w o r d s C e c ily m ig h t h a v e u se d , "Why in th e ! w o r ld a r e th o se je lly b e a n s se r e n a d in g m e? " (p. 1 4 3 ). W ith lit t le d iffi- ; c u lty th e s o p h is tic a te d d an ce s c e n e of S o ld ie r s ' P a y co u ld fu r n ish th e p r o p s and a tm o sp h e r e fo r th e s o c ia l g a th er in g at B e lle M itc h e ll's in i S a r t o r is . Such su r fa c e s im ila r it ie s fo llo w in to th e m in u tia e of lo c a l c o lo r : in S o ld ie r s ' P a y G illig a n 's h o s t sh o w s h im how to d rin k co rn liq u o r fr o m a ju g, C ro o k in g h is f i r s t fin g e r th ro u g h th e h an d le th e m an r a is e d the ju g w ith a round b a ck -h a n d ed sw e e p to h is h o r iz o n ta l upper a rm . . . h is ; m ou th m e t th e m ou th of th e v e s s e l . . . . " T h at's how s h e 's d on e," h e | sa id . . . . (SP 215) I ! | T he a c tio n in the e a r ly n o v e l a n tic ip a te s th e one in th e la te r (c f. p . 131). j r i S im ila r ly , " L o o sh ," th e r etu r n e d N eg ro a r m y v e te r a n in S o ld ie r s' P a y , j ■Whose g r a n d m o th er is old M a m m y C a llie , s u g g e s ts C a sp ey in S a r t o r is , ; a ls o a r e tu r n e d v e te r a n in u n ifo rm in tim a te ly c o n n e c te d w ith the h e r la x han d b e tw een th em g r e w a g a in lik e a flo w e r . . . as if h e r w h o le b od y b e c a m e h e r hand . . . h e r hand u n aw aked . . . c r u sh e d s o ftly abou t w ith h e r fr a g ile c lo th in g . . . . v a in and p lia n t, tr y in g a t titu d e , g e s tu r e a fte r g e s tu r e . . . . h e r b od y w h ich w a s no body, c ru m p lin g a d r e s s th a t had b e e n d r e a m e d . . . . E p ic e n e , he thought, fe e lin g h e r s lim b o n e s , the b itte r n e r v o u s n e s s of h e r f le s h , (pp. 155- 156) 268 s o ld ie r - h e r o ' s f a m ily . E v en F a u lk n e r 's e lo q u e n t tr ib u te to th e s to lid m u le (pp. 2 3 9 -2 4 0 ) in S a r to r is i s fa in tly s u g g e s te d in th e s e n s it iv e o u t lin e in th e e a r ly n o v e l (p. 105). C lo se to it s en d in g , e a c h n o v e l h a s a c e m e t e r y s c e n e w ith su n lig h t, c e d a r s , and sin g in g d o v e s: in S o ld ie r s ' P a y , " d o v es w e r e c o o l, th r o a tily u n em p h a tic am on g th e dead" (p. 206), and in S a r t o r is , " A c r o s s the s p a c e d tr a n q u illity of th e m a r b le sh a p e s th e d o v e s c r o o n e d th e ir e n d le s s r is in g in fle c tio n s " (p. 313). In th e s a m e w a y , th e fr e q u e n t d e v ic e s o f th e F r e n c h S y m b o lis ts s o r ic h ly e m - 26 p lo y e d in S o ld ie r s ' P a y r e a p p e a r w ith e q u a l fr e q u e n c y in S a r t o r is ■ B ut th e th e m a tic r e p e titio n s of S o ld ie r s ' P a y a r e e v e n m o r e o b v io u s in S a r t o r is . The th em e of y o u th fu l d isa p p o in tm e n t in w a r , d is c u s s e d in r e la tio n to C ad et J u lia n L ow e in th e la s t c h a p te r , r e a p p e a r s 26 A s a m p lin g of F r e n c h S y m b o lis t im a g e r y fo llo w s : "in h e r facej w a s th a t tr a n q u il r e p o s e of li l i e s " (p. 49); " m ello w d ow n w ard p o o l o f th e la m p " (p. 57); "the d r iftin g s h a r p n e s s o f to b a c c o la y a lo n g th e w in d le s s j c u r r e n t s of th e s ilv e r a ir" (p. 58); "the s ilv e r r ip p lin g of th e fr o g s " (p. j 6 0 ); " tr e a c h e r o u s ly illu m in a te d b y th e m oon " (p. 61); " tr a g id and tr a n - 1 s ie n t a s a b lo o m in g o f h o n e y su c k le " (p. 62); " sou n d lik e b lu r r e d th u n d er" (p. 114); " a lc o h o l-d u lle d n e r v e s r a d ia te d lik e th r e a d s of ic e " (p. ! 148); " b orn e a lo ft on h is fla m in g v e r b a l w in g s" (p. 157); "H er hand w a s j w a r m , p r e h e n s ile , lik e m e r c u r y in h is p a lm e x p lo r in g so ftly " (p. 165); j " lik e a c h is e le d m a s k b r u sh e d lig h t ly o v e r h is sp e n t v io le n c e " (p. 192 ); i " im m a c u la te lin e n and a g e r a n iu m lik e a m e r r y w ound" (p. 193); "edge-1 l e s s ca n o p y of r a g g e d s t a r s ," "the fa in t o d o r of h ea t" (p. 242); "a f ie ld j of s e d g e o d o ro u s o f su n and d u st" (p. 245); "a h ic k o r y . . . g le a m in g lik e a so d d e n fla m e on th e e te r n a l a z u r e " and "a sw a d d lin g of rain " (p. 253);] " flo r id sto n e g e stu r e " (p. 258); " rid g e on r id g e b lu e a s w o o d -sm o k e " and "the su n th a t s p r e a d lik e a c r im s o n e g g b ro k en on th e u ltim a te ] h ills " (p. 260); "rudd y in v ita tio n " (p. 262); " tu r n ip -sh a p e d s ilv e r w atch"| (p. 264); " m u sic a l g u s t s , r in g in g a s f r o s t y g la s s " (p. 268); " b r ittle s c in tilla tio n " (p. 2 69 ); " cu m u la te w a v e s of h ea t" (p. 281); " red su n th at f e l l lik e a b la r e of tr u m p e ts in to th e h a llw a y " (p. 289 ); " ev en in g w a s a wind-; l e s s lila c d r e a m , f o s t e r dam o f q u ietu d e and p e a c e " (p. 3 1 8 ). S e v e r a l jof th e im a g e s u s e c o lo r s in u n iq u e a r r a n g e m e n ts: "he w a s a tra p p ed b e a s t in th e h ig h b lu e" (p. 181); "the c r e e k r ip p le d and fla s h e d brow nly"] tp. 183); "in a r e d d o ze h e c lu n g to th e se a t" (p. 187); a ro a d " cu rv in g r ed ly " (p. 227); and "T he ro a d lif t e d r e d ly " (p. 2 9 2 ). 269 in a s lig h tly d iffe r e n t c a s t in S a r to r is , fo r e v en though h e h a s not b e e n w ou n d ed youn g B ayard , u n lik e L ow e, h a s s e e n w a r . T hus, w h en old B a y a rd a s k s h im if he is a l l rig h t h is g ra n d so n sn a p s, "W hy not? T a k e s d am n n ea r a s b ig a fo o l to g e t hurt in w a r as it d o e s in p e a c e tim e " (p. 6 0 ). A g a in , you n g B ayard sp e a k s of th e g lo ry , im m o r ta lity , and doom of w ar: N o t of co m b a t, but r a th e r of a lif e p e o p le d b y young m e n lik e fa lle n a n g e ls , and of a m e t e o r ic v io le n c e lik e th at of fa lle n a n g e ls , b eyon d h e a v e n or h e ll and p a rta k in g of both: d oom ed im m o r ta lity and im m o r ta l d oom . (p. 122 ) B a y a rd is so s tr ic k e n by th e gla m o r o f death w h ic h su r ro u n d s h im th a t h e, m o r e d e e p ly and ir r e v o c a b ly th an C adet L ow e of c o u r s e , y e a r n s to id e n tify w ith it: " H e ll," h e s a id , ly in g on h is b ack , sta r in g ou t th e w in d ow w h ere n o th in g w a s to be s e e n , w a itin g fo r s le e p , n o t know ing if it w ou ld c o m e or n ot, not c a r in g a p a r tic u la r dam n e it h e r w ay. N oth in g to be s e e n , and the lo n g , lo n g span o f a m a n 's n a tu r a l lif e . T h ree s c o r e and te n y e a r s to d ra g a stu b b o rn body about the w o r ld and j c o z e n its in s is te n t d e m a n d s. T h r ee s c o r e and ten,, th e B ib le s a id , j S e v e n ty y e a r s . And h e w a s only tw e n ty - s ix . N ot m u ch m o r e th an a j th ir d th ro u g h it. H e ll. (p. 148) T he th e m a tic co u p lin g of lo v e and d a n g e r can b e r e a d ily o b s e r v e d in N a r c is s a 's a ttr a c tio n to w a r d B ayard; sh e s it s n u r sin g h im , "and lo o k ed ! at h is b old , s t i l l fa c e and th e b rok en t r a v e s ty o f h im and h e r tra n q u il s o r r o w o v e r flo w e d in p ity fo r him " (p. 217). A n d a fter h e h a s p r o m is e d h e r th a t h e w ill d riv e c a r e fu lly and th e n w ith N a r c is s a in th e ca r s p e e d s m a d ly dow n a h ill and a c r o s s a n a r r o w b r id g e , b ru sh in g D eath , she :o m e s to him : "her c r a z e d hands w e r e on h is fa c e and sh e w a s sobbingi w ild ly a g a in st h is m outh" (p. 227). i H ! In S o ld ie r s' P a y F a u lk n er w r o te of an a ir fo r c e v e te r a n w ho i s ; 270 b rou gh t h o m e to d ie in a s m a ll so u th e r n tow n . In S a r to r is a youn g a v i- 1 a to r w h o h a s s e e n co m b a t r e tu r n s to a so u th e r n to w n to f i l l out a p a t te r n o f id e n tity w h ich , h e f e e l s , r e q u ir e s h is death; and th rou gh a s e lf - d e s tr u c tiv e c o m p u lsio n , he a c h ie v e s h is g o a l. I h a v e tr e a te d o th er s im ila r it ie s of tech n iq u e and th e m e . If th e r e a r e su c h str o n g r e la t io n sh ip s b e tw e e n the tw o n o v e ls - - in v o lv in g a c tio n , te c h n iq u e , and t h e m e - - th en w h a t a r e th e d if fe r e n c e s ? O lga W. V ic k e r y h a s p o in ted out th a t in S a r to r is F a u lk n er w a s e n g a g e d in "the m a k in g of a m y th ." T h u s, the th e m a tic a c tio n . . . ta k e s p la c e not o v e r a p e r io d of m o n th s b u t in a tim e sp an c o v e r in g fou r g e n e r a tio n s , fla n k e d b y th e C iv il and F i r s t W orld W ars and b y th e tw o John S a r to r ise s.^ ^ N ot on ly is th e th em e of S a r to r is m o r e a ll- e n c o m p a s s in g th an th at of S o ld ie r s1 P a y , but a ls o at l e a s t tw o im p o rta n t te n d e n c ie s n o ted in the e a r lie r n o v e l h a v e ta k en on d is tin c tio n and b e c o m e m o r e in t r i c a te ly r e la te d to d om in an t th e m a tic p u r p o s e s . T h e se a r e (1) th e in - ! c r e a s e d r e lia n c e u p on a u to b io g r a p h ica l m a t e r ia ls , and (2 ) th e p la c in g of; a c tio n in to the c o n te x t of fa m ilia r lo c a l c o lo r . He w a s w r itin g about I w hat h e k n ew , as A n d e r so n had u r g e d h im to . T he u s e of autobiographi-! c a l m a t e r ia ls is m o s t o b v io u s in h is c h o ic e o f c h a r a c t e r s . The o ld C o lo n el, John S a r to r is , h a s m a n y of th e fe a tu r e s of F a u lk n e r 's r e a l g r e a t-g r a n d fa th e r , C o lo n el W illia m C. F a lk n e r , w h o se lif e I h a v e j tr e a te d in C hapter I. L ik e th e r e a l o ld C o lo n el, h is fic tiv e c o u n ter p a r t ! i c a r r ie s a fte r h is d ea th a le g e n d a r y g h o s tlin e s s ca p a b le of h au n tin g h is j : i i d e sc e n d a n ts fr o m the tim e th e y a re o ld en ou gh to h e a r th e g la m o r o u s I ' le g e n d s fr o m o th e r s and to f e e l th e ir a n c e s t o r ’ s h au n tin g p r e s e n c e in ^ " T h e M ak ing of a M yth: 'S a r to r is ,'" W e ste r n R e v ie w , 2 2 :2 0 9 - i 210, S p rin g 1958. j 271 c a r e f u lly p r e s e r v e d r o o m s . L ik e C o lo n e l F a lk n e r , C o lo n e l Joh n S artor^ is fo u g h t in th e M e x ic a n W ar, sa w h e r o ic a c tio n in th e C iv il W ar, b u ilt a r a ilr o a d and h im s e lf a m o n u m en t, k ille d to o m a n y m e n , w o n a r a c e fo r the le g is la t u r e , and h im s e lf w a s sh o t dow n s h o r tly th e r e a fte r on a s t r e e t w h ile w e a p o n le s s . B oth C o lo n e l Joh n and h is p r o to ty p e had so n s w ho in h e r ite d th e ir t it le s o f " C o lo n el," s o ld th e ir r a ilr o a d s , b e c a m e la w y e r s and b a n k e r s, w e r e n o to r io u s ly d e a f, and had r e p u ta tio n s fo r t e s t y d is p o s it io n s . T he p a r a lle ls e x te n d in to th e m in u te d e ta il of th e ir lib r a r ie s , w h ic h c o n ta in su c h R o m a n tic s a s D u m a s. P h il Stone r e m e m b e r s th e young C o lo n e l J. W. T . F a lk n e r " sittin g out at th e c o r n e r of 28 h is b an k in th e sh ad e on su m m e r a fte r n o o n s." The a c tio n w a s n o t un u s u a l, fo r h u n d red s o f S o u th e r n e r s --to w n lo a fe r s and m e r c h a n ts a l i k e - - did th e s a m e . S till, fo r w h a te v e r s ig n ific a n c e th e p a r a lle l m a y h a v e w h en w e ig h e d w ith a ll th e o th e r s , C o lo n e l B a y a rd S a r to r is h a s "a tilte d ; c h a ir in th e ban k d oor" (p. 117). i ( H o r a ce B en bow is a n o th er fic tio n a l c r e a tio n b e a r in g so m e s im i- | la r i t i e s to a r e a l p e r so n : P h il Stone h im s e lf . T h ere a r e , o f c o u r s e , th e g e n e r a l c h a r a c te r tr a it s of th e w e ll- b r e d youn g la w y e r w h o se tr a d itio n al f a m ily p r o f e s s io n is la w , th e g ift fo r b r illia n t s p e e c h (" fla m in g v e r - ; bal w in g s ," p . 175, is n ot an in a p p r o p r ia te ly e x a g g e r a te d m e ta p h o r ), and. j j the fo r m a l e d u c a tio n (S ton e g ra d u a ted fr o m O le M is s and Y a le). H o w e v e r , a m o r e r e m a r k a b le p a r a lle l is to b e fou n d in a d e v ic e of lo c a l color,I a d e s c r ip t io n w h ic h F a u lk n er v e r y lik e ly d rew fr o m fa c t. In gu id in g m e : i about th e r u in s of h is fa m ily h o m e p la c e , P h il Stone p o in te d to th e fr o n t I : I 2 8 m w illia m F a u lk n e r , T he M an and H is W ork ," O xford M a g a zin e} V o l. 1, N o. 2 (June 1, 1934), p. 15. j 3 3 ■ i 272 law n fr o m th e s tr e e t, th e p o rtio n b elo w the cu rv in g d riv ew a y , and to ld m e a sto r y of how h is fa th e r had p lo w ed up the flo w e r in g te r r a c e and la n d sca p ed a g r e e n sw a r d w h ere on ce jo n q u ils, n a r c is s i, and g la d io li had grow n, but how the flo w e r s n e v e r t h e le s s con tin u ed to grow th rou gh the law n e v e r y sp rin g th e r e a fte r and c o lo r the g r e e n sw a r d (In terv iew N o. 2). F au lk n er d e s c r ib e d the B enbow p la c e in S a r to r is a s fo llo w s: The d riv e a sc e n d e d to th e h o u se and cu rv ed b e fo r e it. . . . About the oak and fro m th e . . . d riv e d e sce n d in g , la w n flow ed str e e tw a r d w ith good sw a rd b ro k en by random clu m p s of jo n q u ils and n a r c is s i and g la d io li. O r ig in a lly the law n w a s in te r r a c e s and th e flo w e r s a fo r m a l bed on the f ir s t t e r r a c e . T hen W ill Benbow , H o r a c e 's and N a r c is s a 's fa th e r, had had the t e r r a c e s o b lite ra te d . It w a s done w ith p lo w s and s c r a p e r s and se e d e d anew w ith g r a s s , and he had su p p o sed the flo w e r bed d e str o y e d . But the n ex t sp rin g th e law n w a s stip p led w ith b loom in y e llo w , w h ite, and pink w ithout o r d e r, (pp. 1 5 5 -1 5 6 ) F au lk n er r e lie d h e a v ily on h is e x p e r ie n c e s and rep ea ted h im s e lf a g a in and again . He ap p a ren tly u se d lo c a l r e a lity w h en ev er he co u ld and n e v e r in v en ted m o r e than h e had to . Young B ayard S a r to r is h a s a nu m ber of the young F a u lk n er 's : t r a its . N ot on ly is he a d escen d a n t of a g r ea t-g ra n d fa th e r and gran d fa- j th er m u ch lik e F a u lk n er 's own, but h is own fa th er is str ik in g ly avoided,! p erh a p s b e c a u se he is to o c o lo r le s s in c o m p a r iso n to h is fo r e b e a r s . W hen a sk ed about the a b se n c e of B a y a rd 's fa th er in the n o v e l, F au lk n er r e p lie d th at th e r e w a s nothing w r itte n about h im b e c a u se nothing d r a - 29 m a tic hap p en ed in th at p e r io d fr o m 1870 to W orld W ar I. I have a l r ea d y tr e a te d w hat lit tle I have found o f F a u lk n er 's attitud e tow ard h is | own fa th er in C hapter H: it w a s r e s p e c tfu l but u n fa m ilia r. "D ad's j i sq u a re," he sa id . Young B ayard a v o id s th oughts of h is fa th e r , and the 1 ^ F a u lk n er in th e U n iv e r sity , " S e ssio n T w en ty -E ig h t," F ir s t - Y ear E n g lish C o u rse, A p r il 28, 1958, pp. 2 5 1 -2 5 2 . j 273 m a n n e v e r a p p ea rs a s a c h a r a c te r . N eith er d o es h is m o th e r e x c e p t a s a m in o r r e fe r e n c e (p. 8 2 ). R a th er, B a y a rd 's gran d fath er and g r e a t- g rea t-A u n t Jen n y s e r v e a s h is p a r e n ts. T he F alk n er fa m ily tr a it of w alk in g " v ery str a ig h t," a lr e a d y allu d ed to , is c a r r ie d o v er to old B a y a r d 's c a r r ia g e , a " stiff e r e c t n e s s w h ich , a s a cou n trym an once r e m a rk ed , if he e v e r stu m b led , w ou ld m e e t it s e lf fa llin g down" (p. 29 ). Aunt Jenny d o e s not e s c a p e th e tr a it e ith e r : "that str a ig h t, g r e n a d ie r 's b ack of h e r s w h ich gave the p a s fo r e r e c t n e s s to on ly one b ack in to w n -- that of h er nephew B ayard" (p. 4 9 ). Both S a r to r is e s and F a lk n e r s have a rep u ta tio n of e x tr a o r d in a r y p rid e (se e C hapter I): But th o se fo lk s , th inking th e r e w a sn 't anybody qu ite as good a s a S a r to r is . E v en L u cy C ra n sto n . . . a ctin g lik e it w a s d ivin e p r o v i d en ce that le t h e r m a r r y one S a r to r is and be the m o th er to tw o more;. P r id e , f a ls e p r id e , (p. 82) L ike young F a u lk n er, B ayard h u nts and r o a m s the c o u n tr y -sid e on foot and by car; s im ila r ly , h e w e a r s p a r ts of h is u n iform as he tr e k s throu gh the country; and both a r e fa sc in a te d w ith a ir p la n e s and a c ts of d a rin g (s e e C hapter II). N a r c is s a m en tio n s B a y a rd 's sw in gin g by a rope off a w a te r tank and d iv in g in to a sw im m in g p o o l (p. 80), and B ay a r d 's death flig h t in th e u n te ste d a irp la n e is n a rra ted w ith te c h n ic a l s k ill (pp. 3 0 6 -3 0 7 ). The f ir s t in cid en t, w ith its e m p h a sis on dan gling fro m a rope at a d a n g ero u s h eig h t, r e f le c ts at le a s t so m e a s p e c ts of F a u lk n er 's p a in tin g th e ste e p to w e r and r o o f of the la w b uildin g at the U n iv e r sity of M is s is s ip p i a fter h is retu rn fr o m the w a r , " sw in gin g j 30 fr o m a rope a s he s m e a r e d on the b la ck p ain t." F a u lk n e r 's in te r e s t j [ O f t M a r sh a ll J. Sm ith, " F au lk n er of M is s is s ip p i," p. 4 1 4 , n o tes aj p ic tu r e of the la w sc h o o l and th e sta te m e n t about F a u lk n e r 's rope sw in g in g fro m the ste e p to w er and roof. j 274: in fly in g d u rin g th e 1 9 2 0 's w a s s t ill s tr o n g , and a m e m b e r o f th e V ieu x I C a rre a r t c o lo n y r e c a lls th at F a u lk n er "w as a b it hip ped on th e su b je c t ; of fly in g ," w a s in c lo s e a s s o c ia tio n w ith th e stu n tin g " G ates F ly in g C ir c u s," and th a t "N obody e ls e in our cro w d had gone lo o p in g -th e -lo o p in a 31 b u ck et s e a t and open c o ck p it o v er the M is s is s ip p i R iv e r." Both f i c tio n a l in c id e n ts of d a rin g , th en , have a t le a s t s o m e p o s s ib le a s s o c ia tio n s in a u to b io g r a p h ica l f a c ts . J u st a s C o lo n el John S a r to r is h ad a y o u n g er b ro th er (B ayard ) k ille d in th e C iv il W ar in an a c t of d e r r in g -d o , r etu rn in g to a Y ankee en ca m p m en t fo r a ja r of a n c h o v ie s, you n g B ayard h a s a y o u n g er b r o th er John k ille d in W orld W ar I in an a c tio n s im ila r in its fo o lis h daring: "He w a s drun k . . . o r a fo o l" (p. 60), B a y a rd t e l l s h is g ra n d fa th er, r e - | coun tin g th e in cid en t. Now th e a ctio n h a s co m e a lm o s t fu ll c ir c le . E v en the old C o lo n el w ho o u tliv e d h is w a r w a s a fig u r e of e p ic a l a c h ie v e m e n t b e fo r e h e w a s sh o t down in the s t r e e t . B a y a rd i s a d r ifte r ; d iv id ed fr o m a dead and d yin g a g e, h is on ly ro u te to id e n tity is d eath . | T h u s, it h a s b e e n sa id th at th e d rea m of John S arto ris* g lo r y b e c o m e s p r o g r e s s iv e ly m o r e d e s tr u c tiv e a s it ta k es on a ll th e fo r c e ; of a c a te g o r ic a l im p e r a tiv e fo r C o lo n e l John S a r to r is' d e s c e n d a n ts . S p on tan eou s r e a c tio n s to e x p e r ie n c e a r e r e p la c e d by im ita tiv e r itu - ; a ls in w h ic h fo r m b e c o m e s m o re im p o rta n t th a n m e a n in g . The fin a l j r e s u lt i s apt to be e ith e r an o u tb rea k of v io le n c e or c o m p le te p araly-; s i s . A t it s m o s t e x tr e m e , d ev o tio n to the m e a n a c o m p le te d e n ia l of o n e 's ow n lif e . The th em e of the p a s t is m o st e v id e n t in th e g h o stly p r e s e n c e of; : I : I : ] | [ -5 I I H a m ilto n B a s s o , " W illiam F a u lk n er: M an and W r ite r ," S a tu r day R e v ie w , J u ly 28, 1962, p. 12, m e n tio n s F a u lk n e r 's a cq u a in ta n ce w ith th e G ates F ly in g C ircu s in N ew O r le a n s in the m id -1 9 2 0 's . j ^ V ic k e r y , "The M aking of a M yth," p. 2 1 3 . I ^ ead and th e ir d e s ig n ca n 275 th e o ld C o lo n e l, w h eth er it a r is e fr o m the c o n v e r s a tio n s o f old B ayard and W ill F a lls , A unt J en n y ’ s ta le s of m a r tia l h e r o ic s , th e S a r to r is p a r lo r s e t ap art lik e a m u se u m of r ic h m e m o r y , old B a y a rd 's ru m m a g in g th rou gh th e tru n k co n ta in in g h is fa th e r 's p e r s o n a l e ffe c t s , S im o n 's m o n o lo g u e s w ith the "O le M a r ste r ," Aunt J e n n y 's d e s ir in g to n am e th e new b ab y "John" and p e r h a p s u n c o n sc io u s ly to r e p e a t th e fa ta l p a tte rn , h e r co n sta n t c a v ilin g a t S a r to r is a r r o g a n c ie s , and, in th e c e m e te r y , h e r a c q u ie s c e n c e to the old C o lo n e l's lo o m in g e x a m p le of g la m o r and doom s e t dow n in e sc a p a b ly fo r a ll th e S a r t o r is e s . I h ave in d ic a te d in th e p lo t su m m a r y th at e v e r y one of the fiv e p a r ts of th e n o v e l d e a ls in so m e w a y w ith th e old C o lo n e l, and, alth ou gh h e a c tu a lly e n te r s the a c tio n on ly th ro u g h the n a r r a te d m e m o r ie s of o th er c h a r a c t e r s , as in th e f ir s t s e c tio n , h e is o ften fa r m o r e p a lp a b le than th o se w h o a re b o d ily p r e s e n t. P a s t and p r e s e n t a r e fr e q u e n tly ju x ta p o sed in su b tle d r a m a tic r e n d e r in g s, a s , fo r e x a m p le , in F a u lk n e r 's tr e a tm e n t of M y r tle , th e n u r s e of the u p -to -d a te young D r. A lfo r d in P a r t Two. M y rtle in h e r '■sm all cu b b yh ole . . . of Sp artan but su a v e a s e p s is " (p. 98) a sk s A unt Jen n y , "You h a v e an a p p o in tm en t? " --b u t a fte r A unt Jenny ig n o r e s th e q u e stio n and t e lls h er to "run and t e ll D r. A lfo r d C o lo n el S a r to r is w a n ts to s e e h im ," sh e r e p lie s , " Y e ssu m , M iss Jen n y," and o b e d ie n tly fo llo w s! th e d ir e c tio n s of h e r e ld e r s and, th er e b y , th e d ic ta te s of th e e sta b lish e d ! 33 s o c ia l p a tte rn of the p a s t. T he c la s h b e tw e e n new and o ld b e c o m e s ! i i ; I | ^ E lm o H ow ell, " F a u lk n e r 's 'S a r to r is ,'" E x p lic a to r , 1 7 :item 3 3 ,j F e b r u a r y 1959, s ta te s that. F a u lk n er in S a r to r is w a s c o n c e r n e d "w ith th e a d v en t of n ew w a y s in J e ffe r s o n and the slo w d im in u tio n of old v a lu e s ," i and th a t "N ow h ere h a s h e e x p r e s s e d th is c o n c e r n w ith g r e a te r e c o n o m y ! and d r a m a tic fo r c e than in h is p o r tr a it of M y r tle , the d o c to r 's a s s is ta n t! n ! m o r e o b v io u s w h e n th e o ld fa m ily d o c to r , "L oosh " P ea b o d y , le a d s th e youn g C o lo n el aw ay fr o m D r. A lford and a d v is e s a g a in st an o p e r a tio n . D r. A lfo r d 's o ffice b e c o m e s e m b le m a tic a l of th e m o d e r n w o r ld of n on d e s c r ip t, im p e r s o n a l e ffic ie n c y w h ile D r. P e a b o d y 's o ffic e , w ith it s r o ll-to p d e sk , d u sty l it t e r , and sta ck of p a p e r -c o v e r e d n ic k e l n o v e ls , r e p r e s e n ts th e id e n tifia b le , m o r e s lo w ly m o v in g , and p e r so n a l w o r ld of th e p a s t. One e n c o u n te r s s im ila r c la s h e s in the attitu d e of the M a cC a l- lu m p a tr ia r c h w ho " a in 't n e v e r got o v e r Buddy b e in g in th e Y ankee a r m y ," and " C la im s he a in 't co m in g to to w n a g a in u n til th e D e m o c r a tic p a r ty d e n ie s W oodrow W ilso n " {p. 1 2 0 ). The d is p a r ity b e tw e en th e p a s t and p r e s e n t is e m p h a siz e d once m o r e w h en W ill F a lls r e c o u n ts the s t o r ie s of th e old C o lo n e l to the h a lf -d e a f B ayard and F a u lk n er r e f e r s to W ill F a lls ' "days in to w h ic h few w h o now tr o d th at e a rth cou ld e n te r w ith him " (p. 199). ! Y oung B a y a rd t r i e s in w hat a m o u n ts to fr u s tr a tin g d e s p e r a tio n | i to fit h is ow n life to th e fa ta l, ou tm oded S a r to r is p a tte rn . Sw in gin g by i ro p e fr o m th e h igh w a te r tank, rid in g th e f ie r c e u n b r id le d h o r s e , b o ltin g i h is c a r w ild ly o v er th e c o u n tr y sid e , and te s tin g th e u n p ro v ed p la n e a r e > a ll so m a n y im m o la tio n s p e r fo r m e d a s r itu a l to a fo r m a liz e d p a s t in i j w h ic h h e f e e ls he can n ot o th e r w ise s h a r e . He t r ie s to e sc a p e th is kin d | 1 i of fa ta l id e n tity th ro u g h h is m a r r ia g e to N a r c is s a , but h e know s th e ir ! i : I lo v e is o n ly a te m p o r a r y r e s p ite fr o m th e u ltim a te s a c r ific e : "the tem -i : j p o r a r y a b ey a n ce of h is d e s p a ir and th e is o la tio n of th at doom he c o u ld j i | not e sc a p e " {p. 248). A g a in , a fter p r e c ip ita tin g old B a y a r d 's h e a r t a t ta c k , he t r i e s to e s c a p e in to the co u n try , hunting w ith th e M a cC a llu m s, ; but he a lw a y s e n c o u n te r s th e se n se of is o la tio n and te n s io n th at le a v e s 277 h im in fr u s tr a te d s u s p e n s io n b e tw e e n th e in to le r a b le p r e s e n t and the u n re a c h a b le p a s t. F a m ilia r c a ta le p tic im a g e s o c c u r th rou gh ou t th e n o v e l. E v en th e old h o u s e s in the to w n " em a n a ted a g r a c io u s and b en ig n p e a c e , s te a d fa s t a s a w in d le s s a fte r n o o n in a w o r ld w ith ou t m o tio n or sound" (p. 155). A s N a r c is s a , ca u g h t in the fa ta l S a r to r is p a tte r n by- lo v e , lo o k s dow n in to h e r g a rd en , sh e is lik e n e d to "a nigh t a n im a l or b ir d caught in a b ea m of lig h t and tr y in g v a in ly to e sc a p e " (p. 223). A fte r h is flig h t to th e co u n try, B a y a rd , g u iltily c o n v in c e d th at h e h a s c a u se d b oth th e d eath of h is g ra n d fa th er and h is b r o th e r , is im p r iso n e d in co ld m u ch a s U g o lin i in D an te’ s In fern o s u ffe r s e te r n a l im p r iso n m e n t in ic e up to h is n e c k fo r h avin g b e tr a y e d h is k in d red (pp. 2 7 0 -2 7 4 ). B a y a r d 's a ttem p t to e s c a p e h is doom en d s on ly w h en he m e e ts it w ith a kind of r e s ig n e d w illin g n e s s in th e a ir p la n e c r a sh . P e r h a p s th e m a jo r d is tin c tio n b e tw e en S a r to r is and a ll o f Faulk-j n e r 's p r e v io u s w o r k s is that th e fa m ilia r th e m e s of h is own str u g g le to j id e n tity and h is s e n s e of o b lig a tio n to h is Sou thern p a s t - - t r a c e a b le th rou gh e v e r y m a jo r p h a se of h is w o r k fr o m its b eg in n in g in 1919 to th e 1 p u b lish e d a d ven t of th e Y oknapataw pha s e r ie s in 1 9 2 9 “ -a r e p la c e d into th e c o n te x ts of id e n tifia b le a u to b io g r a p h ica l m a t e r ia ls and r e c o g n iz a b le j a s p e c ts of lo c a l c o lo r . In w r itin g S a r to r is , F a u lk n er ca m e h o m e to h is j ro o ts; and, lik e th e b e s t of h is m a tu r e p ro d u ctio n , th e book is r o o te d in I ; l th e n o r th er n M is s is s ip p i a r e a w h ic h he knew b e s t. F o r the f i r s t tim e in! h is lit e r a r y c a r e e r , F a u lk n er h ad a c q u ir e d the te c h n ic a l m a tu r ity to ex-; p r e s s w h a t h e had c o m e to u n d ersta n d w a s h is m a t e r ia l. CHAPTER X C O N C LU SIO N T he p r e v io u s b io g r a p h ie s c o n c e r n in g W illia m F a u lk n e r - - s u c h a s th o s e of C ough lan, H ow e, M in e r , and O 'C o n n o r --h a v e p r e s e n t e d m a n y h e lp fu l fa c ts about h is lif e and o ffe r e d v a r io u s c r it ic a l a p p r o a c h e s to h is w o r k . A s a r e s u lt , a n y o n e in t e r e s t e d in F a u lk n er is in a p o s itio n to know c e r ta in fa c ts about h is e a r ly lif e and lit e r a r y d e v e lo p m e n t: he p u b lish e d tw o v o lu m e s of p o e tr y ; he sp e n t s o m e tim e at th e U n iv e r s it y of M is s is s ip p i and d id s o m e w r itin g fo r ca m p u s p u b lic a tio n s; and h e had a c o lo r fu l a n c e s t r y , m o s t n o ta b ly a g r e a t-g r a n d fa th e r w ho b e c a m e a k in d o f le g e n d . S im ila r ly , o th er b its of in fo r m a tio n a r e g e n e r a lly k n ow n. Y oung F a u lk n er w a s an im a g in a tiv e c h ild and e r r a t ic a d o le s - j c e n t, q u ittin g h ig h s c h o o l h is so p h o m o r e y e a r . L a te r , a s a p ilo t fo r th e j R o y a l C an ad ian A ir F o r c e d u rin g W o rld W ar I, he p a r tic ip a te d in s o m e j u n c e r ta in h e r o ic s in v o lv in g a c r a s h . A t h o m e a g a in in O xford , M i s s i s - j s ip p i, h e b e c a m e a to w n c h a r a c t e r - - s o m e t im e s th e m o n o c le d , d ap p er "C ount N o 'co u n t," s p o r tin g h is c a n e , and th en th e r a g g e d , b a r e fo o t w an -; d e r e r of th e c o u n tr y s id e , w h o sq u a tted on th e flo o r of M r. "M ack" R e e d 's d ru g s to r e to r e a d m a g a z in e s . He w a s a s e lf - e d u c a t e d g e n iu s , \ • i w h o, w ith th e h e lp of a lo c a l la w y e r , P h il S to n e, p u b lish e d h is f i r s t book| of p o e tr y , T he M a rb le F a u n , in 1924. S u ch fr a g m e n ts of in fo r m a tio n abou t F a u lk n e r 's lif e a r e c o m m o n k n o w led g e; but, to o o ften , th e y h a v e b e e n p la y e d up in su ch a w a y a s to m a k e h im a p p ea r e c c e n t r ic and h is ..........................................................27a .. -..................... ; 279 b e h a v io r u n a cco u n ta b le. T h us, th e to ta l im p r e s s io n w h ic h b io g r a p h e r s h a v e g iv e n of F a u lk n er is one of a v e r y odd p e r so n . W ith th is b io g ra p h y , I h a v e t r ie d to p r o v id e the r e la tio n s h ip s b e tw e e n su ch fa c ts and F a u lk n e r 's lif e , th e b e h a v io r and th e m a n , th e w o r k and th e m in d w h ich p ro d u ced it. W hen th e s e r e la tio n s h ip s a r e su p p lie d , F a u lk n er b e c o m e s l e s s of an od d ity and m o r e e x p la in a b le a s a p e r s o n . A ss u m in g th at a r e la tio n s h ip b e tw e en a w r it e r 's lif e and h is lit e r a r y p r o d u ctio n exists,'*' I h a v e a p p ro a ch ed F a u lk n e r 's lif e and e a r ly w o r k fr o m tw o v ie w p o in t s - -th e e s t h e t ic and th e p s y c h o lo g ic a l, m y in te n tio n b ein g th at the tw o a p p ro a c h e s a c t a s r e fle c tin g m ir r o r s , th e p s y c h o lo g ic a l illu m in a tin g F a u lk n e r 's w o rk , and th e w o rk i t s e l f illu m in a t in g h is p e r s o n a l a ttitu d es and m o tiv a tio n s d u rin g th is p e r io d of h is lif e . I h a v e e n d e a v o r e d to m o v e b a ck and fo r th b e tw e en the lif e and th e w ork , F r a n z A le x a n d e r , "The P s y c h o a n a ly s t L ooks at C o n tem p o ra ry | A r t," A rt and P s y c h o a n a ly s is , ed . W illia m P h illip s (N ew Y ork, 1957), p. 346, s a y s th a t a r t ca n be lo o k e d upon fr o m e ith e r the e s t h e t ic o r p s y c h o lo g ic a l p o in t of v ie w . L e s lie A . F ie d le r , " A rch etyp e and Signature,"! A r t and P s y c h o a n a ly s is , p . 4 5 4 , s ta te s th at "A c e n tr a l d o g m a of m u ch I r e c e n t c r it ic is m a s s e r t s th at b io g r a p h ic a l in fo r m a tio n is ir r e le v a n t to i th e u n d ersta n d in g and e v a lu a tio n of p o e m s , and th at c o n v e r s e ly , p o e m s i ca n n o t le g it im a t e ly b e u s e d as m a t e r ia l fo r b io g ra p h y ." He co n ten d s I th a t lite r a tu r e can be u s e d as " d o cu m en ts of b iograp h y" on ce w e realizes th a t h is to r y is not a ll h is to r y , and a r t i s not a ll a r t. H o w e v er , F ie d le r \ m e r e ly a s s e r t s h is p o in ts and d o e s not attem p t to d e m o n str a te c o n c lu - j isiv e ly how th e y can be im p le m e n te d . K enneth B u rk e, " F r e u d --a n d th e j A n a ly s is of P o e tr y ," T he P h ilo so p h y of L ite r a r y F o r m (N ew Y ork , 1957 K p p . 2 4 4 -2 4 5 , s ta te s th at "we can e lim in a te b io g ra p h y a s a r e le v a n t fa c t j ab ou t p o e tic o r g a n iz a tio n on ly if w e c o n s id e r th e w o r k of a r t a s if it w e r e w r itte n n e ith e r b y p eo p le nor fo r p e o p le . . . . [and] W e can n ot u n- j d e r sta n d a p o e m 's str u c tu r e w ith o u t u n d ersta n d in g th e fu n c tio n of th at S tru ctu r e. A nd to u n d ersta n d it s fu n c tio n w e m u st u n d ersta n d its p u r - j j>ose." B u rk e th en illu s t r a t e s h ow th e co n n e c tio n can be m a d e by r e la - i tin g c e r ta in of C o le r id g e 's p e r s o n a l p r o b le m s to s e le c t e d im a g e s of >'The A n c ie n t M a rin er ," and g e n e r a lly co n ten d in g th at m o s t fr u itfu l r e - | s u its in su ch in te r p r e ta tio n s ca n be o b ta in ed th rou gh s t r e s s in g a " p ro p o r tio n of in g r e d ie n ts" r a th e r th an the ty p ic a l p s y c h o lo g is t's " e s s e n - ; t ia liz in g m o d e of in ter p r e ta tio n " (pp. 2 2 3 -2 2 4 ). ; 280 n o t in d is c o n n e c te d p a r t s , but r a th e r in a n e ffo r t to d e fin e th o s e p a r ts and r e la t e th em to a la r g e r and m o r e m e a n in g fu l p a tte r n . T h e b a ck g ro u n d of m y a p p ro a ch , p e r h a p s , n e e d s fu r th e r a m p lifi c a tio n . W h ile at O x fo rd , M is s is s ip p i, I w a s p e r m itte d to e x a m in e th e F a u lk n er m a t e r ia ls a t th e u n iv e r s it y lib r a r y and, in th e tow n , w a s g ra n ted s e v e r a l in t e r v ie w s . B oth th e r e s e a r c h and in t e r v ie w s h a v e in c r e a s e d m y u n d e rsta n d in g of h is e a r ly w o r k and, to s o m e e x te n t, add ed n ew in fo r m a tio n to th e p r e v io u s ly a v a ila b le k n o w led g e of h is life ; but th e m o s t v a lu a b le a s p e c t of m y e x p e r ie n c e in O xford w a s th e s e n s e of c o n n e c tio n b e tw e e n th e is o la t e d f a c t s and a n e c d o te s a lr e a d y w r itte n about and th e la r g e r c o n te x t o f F a u lk n e r 's e a r ly l if e . T h is s e n s e of c o n n e c tio n s e e m e d g r a d u a lly to g iv e sh a p e to th e p a t t e r n le s s b its of in fo r m a tio n and to m a k e F a u lk n er b e lie v a b le a s a p e r s o n and h is w o rk i l lu m in a tin g in w a y s n o t p r e v io u s ly r e c o g n iz e d . A ll th e e le m e n t s d is c u s s e d in p r e v io u s c h a p te r s s e e m , in r e tr o -; sp e c t, to h a v e b e e n n e c e s s a r y a n d .v a lu a b le in c la r ify in g F a u lk n e r 's l i t - ; jerary and p e r s o n a l d e v e lo p m e n t. T he stu d y of h is fa m ily b a ck g ro u n d j } and the p e r io d of h is lif e up th ro u g h h is e n lis tm e n t in th e R .C .A .F . in 1918 r e v e a ls the e m e r g in g th e m e s of th e p a s t and h is s tr u g g le to id e n ti ty as h e w a s d raw n , on one han d, to w a rd th a t p a s t, and, on th e o th er , to - i ward a m o r e p e r s o n a l in d iv id u a tio n in th e South o f h is d ay. T he e n su in g c o n flict o f id e n titie s h e lp s to e x p la in a p a tte r n of te n s io n a l im a g e s , f i r s t i j a p p ea rin g in 1919 in F a u lk n e r 's e a r l i e s t p u b lis h e d w o r k s. A s r e c u r r in g i j im a g e s , th e y ca n b e t r a c e d th ro u g h o u t h is e a r ly w o r k and r e la te d to th e I jthem es o f th e p a s t and th e c o n flic t of id e n t it ie s . ! P a r t ic u la r ly s tr o n g r e la t io n s h ip s e x is t e d b e tw e e n th e youn g 281 F a u lk n er and b oth h is g r e a t-g r a n d fa th e r C o lo n el W illia m C u th b ert F a lk n e r , th e m o s t p red o m in a n t a n c e s t r a l in flu e n c e , and h is gra n d fa th er J o h n W e sle y T h o m p so n F a lk n e r . H o w e v er , b e fo r e h e cou ld tr a n sm u te th e s e f a m ilia l p r o to ty p e s in to th e c o n s c io u s ly co m m u n ic a te d p e r so n a e of lit e r a r y a r t, it w a s f ir s t n e c e s s a r y to w r ite p o e tr y . M Ifm a fa ile d p o et," F a u lk n er s a id . "M aybe e v e r y n o v e lis t w an ts to w r ite p o e tr y f ir s t , [and] fin d s h e ca n 't. . . ." He th e n tu rn ed fro m p o e tr y to p r o s e , and th en fro m h is d e c a d e n t p h a se of th e m id -tw e n tie s to w a rd an in c r e a s e d r e lia n c e upon a u to b io g r a p h ica l m a t e r ia ls p la c e d in to th e c o n te x t of a m o r e c o n c r e te lo c a l c o lo r . The F a lk n e r fa m ily tr a d itio n im p o se d upon h im a unique p r o b le m of id e n tific a tio n , w h ich he u ltim a te ly so lv ed ; but, c o n v e r s e ly , h e had th e advan tage of the a n c e str y , and h avin g h ad it im p r e s s e d upon h im s o d e e p ly as a ch ild , it w a s th e r e a ll the t i m e - - a v a s t so u r c e of m a t e r ia l. D e sir in g to id e n tify w ith it, w h ile at the s a m e tim e ! b e in g a c tiv e ly d is jo in e d fro m it b y tim e and the e v e n ts of h is to r y , he i b e g a n to p r e p a r e h im s e lf to d e a l w ith it im a g in a tiv e ly and, co n seq u en tly ; im m e r s e d h im s e lf in a s e r ie s of lit e r a r y e x p e r ie n c e s . T hus, th e dom i-! n an t th e m e s of th e p a s t and h is str u g g le to id e n tity found o u tlet in h is w r itin g , and c a n be tr a c e d as th e y ap p ea r in v a r io u s fo r m s th rou gh ou t e v e r y m a jo r p h a se of h is e a r ly w o rk fr o m its b eg in n in g in 1919 to th e In an in te r v ie w w ith J e a n S tein , N ew Y ork C ity, 1956, pu blished! in W r ite r s at W ork: th e P a r is R e v ie w I n te r v ie w s , e d . M a lco lm C o w ley I (N ew Y ork, 1959), p . 123. In F a u lk n er in th e U n iv e r s ity , e d s . F red erick ; L. Gwynn and J o se p h L.. B lo tn er (C h a r lo tte s v ille , V ir g in ia , 1959), " S es-j s io n O ne," in a ta lk w ith the stu d en ts of a grad u ate c o u r s e in A m e r ic a n j F ic tio n , F e b r u a r y 15, 1957, p . 4, F a u lk n er a m p lifie d the sta te m e n ts: | ". . . I've o ften th ought th at I w r o te th e n o v e ls b e c a u s e I found I couldn't! w r ite the p o e tr y , th at m a y b e I w a n ted to be a p o et, m a y b e I th in k of m y -j s e lf as a p o e t, and I fa ile d at th a t, I co u ld n 't w r ite p o e tr y , s o I did th e h e x t b e s t th in g ." 282 p u b lis h e d a d v en t of th e Y oknapataw pha s e r i e s in 1929- S im ila r ly , th e u n s p e c ta c u la r fa c ts of F a u lk n e r 's tr a in in g e x p e r i e n c e s in W o rld W ar I and the fic t io n a l e x p a n s io n s of th em w h ich h e h im s e l f f o s te r e d and n e v e r b o th e r e d to c o r r e c t b e c o m e u n d e rsta n d a b le w h e n r e la t e d to F a u lk n e r 's d eep im p e r a tiv e to id e n tify w ith an a n c e s t r y th a t : w a s r e p le te w ith m a r t ia l h e r o is m . The w a r e x p e r ie n c e in 1918 c a m e a lo n g at ju s t th e r ig h t tim e fo r h im . W ith out it he co u ld n o t h a v e p r o j e c t e d so e f f e c t iv e ly b a ck in to th e m ilit a r y p a s t of h is g r e a t -g r a n d fa th e r ; if h e h a d b e e n o ld e r , he m ig h t h a v e b e e n m o r e d e e p ly a ffe c te d , h is c o g n itiv e a r t is t r y th w a r te d and d e p r iv e d of i t s r ic h r e s o u r c e s of th e p a s t . A t a n y r a te , h is a r t as w e ll a s h is lif e w o u ld h ave b e e n d iffe r e n t. H e w a s to u ch ed by th e w a r in a m in im u m w a y , but th at s e e m s to h a v e b e e n en ou gh . F o r p u r p o s e s of th is stu d y , F a u lk n e r 's e a r ly w o r k is tr e a te d c h r o n o lo g ic a lly a c c o r d in g to c o m p o sitio n : th e p o e m s o f T he M a rb le F au n ; the u n iv e r s it y p ie c e s , m o s t of w h ich w e r e p u b lish e d in the c a m p u s w e e k ly , T he M is s is s ip p ia n ; th e p o e m s of A G r e e n B ough; th e N ew O r le a n s s k e tc h e s , p o e m s , and c r i t i c i s m s , m o s t o f th em p u b lish e d in T he D o u b le D e a le r and th e T im e s - P ic a y u n e ; and th e f ir s t th r e e n o v e ls , S o l- i id iers' P a y , M o s q u ito e s , and S a r t o r is . T h is m a t e r ia l r e v e a ls a v a r ie t y j pf in flu e n c e s at w o r k in F a u lk n e r 's lit e r a r y d e v e lo p m e n t, m o s t n o ta b ly j th e F r e n c h S y m b o lis ts , w ho w e r e to h elp F a u lk n e r to b e c o m e a reg io n a l! ■ ’ I w r it e r w ith a d if fe r e n c e . I h a v e is o la te d , a n a ly z e d , and t r a c e d r e c u r r in g im a g e s , d e v ic e s , th e m e s , and m o tifs a s th e y a p p ea r fr o m one w o r k 1 | to a n o th er, th u s g iv in g so m e c o n c e p t of th e co n tin u in g d e v e lo p m e n t o f j i ! F a u lk n e r 's te c h n iq u e s du rin g th is p erio d ; a t th e sa m e t im e , I h a v e r e - I 283 la te d v a r io u s a s p e c ts of th e sig n ific a n t in d iv id u a l w o r k s to th e ir co u n te r p a r ts in the o th er w o r k s of the p e r io d c o v e r e d b y th is stu d y , thus p la c in g e a c h p ie c e in to th e co n te x t of a la r g e r d e v e lo p m e n ta l p a tte rn . In ad d ition , I h ave tr a c e d a la r g e n u m b er of o th er in flu e n c e s in F a u lk n e r 's e a r ly w o rk , b egin n in g w ith th e R o m a n tic s. E v en though "C athay" i s not a p a r tic u la r ly good p o e m , it is a ty p ic a l p ie c e and in d i c a te s th at F a u lk n er w a s e x p e r im e n tin g w ith s e n su o u s im a g e r y in a p r o fu s io n e x c e e d in g e v e n th at of K eats or S h e lle y , tw o of the m o s t p r o n o u n ced in flu e n c e s on h is p o e tr y . T he p o e m 's s ig n ific a n c e i s , of c o u r s e , b a s ic a lly d e v e lo p m e n ta l, but F a u lk n er had to w r ite it, fo r th at w a s h is w a y of a s s im ila tin g the R o m a n tic and F r e n c h S y m b o list in flu e n c e s w h ic h w e re to p r e p a r e h im to p r o fit fr o m lit e r a r y e x p e r ie n c e s to; c o m e . F a u lk n e r 's c r it ic a l a r tic le s p u b lish e d in T he M is s is s ip p ia n th ro w lig h t on b io g r a p h ic a l fa c ts and h e lp t a c l a r i f y th rou gh in te r n a l e v id e n c e th e ch r o n o lo g y of F a u lk n e r 's f i r s t N ew Y ork trip , p ro b a b ly in 1921; c o n v e r s e ly , th e c o r r e c t d atin g of the tr ip w o u ld h elp u s to know it s in flu e n c e upon F a u lk n e r 's su b seq u en t lit e r a r y p ro d u ctio n , in clu d in g th o se c r it ic a l a r t ic le s p u b lish e d as e a r ly as 1922. T he tw o m o s t im p o rta n t c o n te m p o r a r y in flu e n c e s on F a u lk n er w e r e P h il Stone and S h erw ood A n d e r so n . P h il Stone a c te d a s fr ie n d and M a ec e n a s to F a u lk n e r , and he s tr o n g ly in flu e n c e d h is p r o te g e 's r e a d in g . H F a u lk n er had m e t the F r e n c h S y m b o lists in a c o lle g e Icou rse, th e y m ig h t h a v e b e e n dead fo r h im ; but h e m e t th em th rou gh th e ^sym pathetic e y e s and m in d of P h il S ton e, who h im s e lf had a s s im ila t e d th em . W ithout S to n e 's e x p o su r e to th e R o m a n tic s, th e F r e n c h S y m b o l- > i s t s , and th e a v a n t-g a r d e w o r k s, F a u lk n er w ou ld p ro b a b ly h a v e b een 284 w r itin g jin g le s fo r the c o lle g e y e a rb o o k . V a rio u s s p e c if ic p a tte r n s of p h r a sin g in F a u lk n e r 's p r o s e ech o s o m e of th o se in S to n e's p u b lish e d w o r k , su g g e stin g th e p o s s ib ilit y of a te c h n ic a l, s t y lis t ic in flu e n c e . F a u lk n er r e lie d qu ite h e a v ily upon S to n e 's e d itin g of h is m a n u sc r ip ts up; th ro u g h S an ctu a ry (1 9 3 1 ), and he co n tin u ed to c h e c k h is lo c a l c o lo r lo r e w ith S tone, e s p e c ia lly th a t p e r ta in in g to th e S n o p e se s, a s la te a s The R e iv e r s (1 9 6 2 ). T hus, th e lit e r a r y fr ie n d sh ip w ith Stone b rou gh t F a u lk n e r m o r e fu lly and a m b itio u s ly in to c r e a tiv e e x p e r ie n c e , and th en s u s ta in e d h im e d ito r ia lly u n til F a u lk n er r e a c h e d a r t is t ic m a tu r ity . W hen h e and Stone w en t to N ew O rlea n s in 1925, F a u lk n er w a s r e a d y to b e n e fit fr o m A n d e r so n 's in flu e n c e . He lo o k e d up to A n d er so n but, b y no m e a n s , f e lt in fe r io r . In d eed, in s o m e w a y s h e f e lt eq u a l to A n d erso n , and A n d e r so n a c c e p te d h im as an eq u a l. The e v e n ts su rro u n d in g th e ir fr ie n d sh ip in N ew O r le a n s, th e p u b lic a tio n of S o ld ie r s 1 P a y (1926), th eir! c o lla b o r a tio n on th e t a ll ta le w h ich a p p ea r e d in M o sq u ito e s (1927), and j ! 3 ' ' th e c o lla b o r a tio n i t s e lf in d ic a te a m u tu a l, p r o fe s s io n a l r e s p e c t . F in a lly , by th e tim e F a u lk n er w r o te S a r t o r is , he had d e v e lo p e d a s ty le w h ich m e t th e n e e d of the lo c a l m a t e r ia l and, at th e s a m e tim e , th e sta n d a rd s of th e a v a n t-g a r d e . He b e c a m e a r e g io n a l w r ite r , but su b tly , th rou gh a s e r i e s of n e c e s s a r y e x p e r ie n c e s - - t h e P h il Stone fr ie n d sh ip , th e N ew Y ork tr ip , the A n d e r so n in flu e n c e , th e so jo u rn in E u ro p e, and j I ; i th e d is c ip lin e le a r n e d th ro u g h v a r io u s w o rk s of lit e r a r y a p p r e n tic e sh ip . F a u lk n er had th e m a t e r ia l a ll a lo n g , but h e h ad to get a p e r s p e c tiv e w ith : ! 3 > S ee Ch. VII. F o r an e x te n d e d tr e a tm e n t of th is c o lla b o r a tio n , ] s e e m y a r t ic le , " F a u lk n er, A n d erso n , and T h e ir T a ll T a le," A m e r ic a n ; L ite r a tu r e , 3 4 :2 8 7 -2 9 1 , M ay 1962. i w h ich to tr e a t it: a r e c ip e b y w h ic h th e e m o tio n a l depth of th e m a t e r ia l co u ld be r e a liz e d . W hen h e w e n t b a c k h o m e to w hat A n d e r so n c a lle d "that lit t le p a tch up th e r e in M is s is s ip p i w h e r e you s ta r te d fr o m ," he to o k w ith h im a m a tu r e c o g n itiv e a r t is t r y w ith w h ich h e co u ld sh a p e the su b sta n c e of the p a s t in to a m y th of h is ow n. In a p e c u lia r w a y , th en , e v e r y th in g w h ich h a p p en ed to F a u lk n e r , fr o m th e g e n e r a tio n s of h is p r e c o n s c io u s p a s t to h is in d iv id u a tio n a s a w r ite r in O xford , M i s s i s s i p p i, s e e m s to have b e e n n e c e s s a r y . E v e r y th in g , a s it w e r e , p r e p a r e d h im fo r th e n ex t e v e n t. A lo n g tr a d itio n of r e g io n a l r e a lis m h a s e x is t e d in A m e r ic a , but no o th er r e g io n a l w r it e r s o s u c c e s s f u lly c o n tr iv e d to m a k e out of h is n a tiv e s o il a lit e r a tu r e s o r ic h in lo c a l c o lo r and so u n iv e r s a l in it s ap p e a l. W illia m F a u lk n er c r e a te d a m y th in th e d im e n sio n of lit e r a r y a r t - - a w o r ld at on ce h is ow n, y e t la r g e r th an h im s e lf and h is ow n South, one p a r ta k in g of th e t im e le s s e x is t e n c e of m a n 's n o b le s t s tr iv in g s fr o m the d ark , r e a c h le s s p a s t to th e lig h t of e a c h m a n 's s e lf - d is c o v e r y . B I B L I O G R A P H Y BIBLIO G R A PH Y C o n s is te n t w ith th e p u r p o s e s of th is stud y, th e w o r k s of W illia m F a u lk n er a r e lis t e d c h r o n o lo g ic a lly a c c o r d in g to f i r s t p u b lic a tio n . F o r th e m o n th and d ay of th e p u b lic a tio n of F a u lk n e r 's b o o k s, I am in d eb ted to J a m e s B. M e r iw e th e r , W illia m F a u lk n er: A C h eck L is t (P r in c e to n , 1 9 5 7 ), p p . 2 - 7 . W h e r e v e r o r ig in a l te x ts w e r e not c o n su lte d d ir e c tly , I h a v e lis t e d r e p r in ts w h ich w e r e a v a ila b le to m e . W ork s o th er th an th o se of F a u lk n er a r e a rra n g ed a lp h a b e tic a lly . W orks of W illia m F a u lk n er " L 1 A p r e s -M id i d'u n F au n e," (p o em ), N ew R e p u b lic , 2 0 :2 4 , A u g u st 6, 191 9 . R e p r in te d in The M is s is s ip p ia n , O ctob er 2 9 , 1919, p. 4. " C ath ay," (p o em ), T he M is s is s ip p ia n , N o v e m b e r 12, 1919, p. 8. " L an d in g in L u ck ," (sto r y ), T he M is s is s ip p ia n , N o v em b er 26, 1919, pp. 2, 7. " S a p p h ics," (p o em ), T he M is s is s ip p ia n , N o v e m b e r 2 6 , 1919, p . 3. " A fter F ifty Y e a r s ," (p oem ), T he M is s is s ip p ia n , D e c e m b e r 10, 1919, p . 4 . ; "Une B a la d d e s H e d e s [ s i c ] F e m m e s P e r d u e s ," (p o em ), The M i s s i s s i p p ia n , J a n u a ry 2 8 , 1920, p. 3. " N a ia d s' Song," (p o em ), The M is s is s ip p ia n , F e b r u a r y 4, 1920, p. 3. " F a n to u ch es" [ s i c ], (p oem ), T he M is s is s ip p ia n , F e b r u a r y 25, 1920, p . 3. " C la ir de L une," (p o em ), The M is s is s ip p ia n , M arch 3, 1920, p . 6. "T he Iv o ry T o w er ," (a r tic le in a n sw e r to p a r o d ie s of h is p u b lic a tio n s in T he M is s is s ip p ia n ), The M is s is s ip p ia n , M arch 17, 1920, p. 4. ,"A P o p la r ," (p o em ), The M is s is s ip p ia n , M a rch 17, 1920, p. 7. " S tr e e ts ," (p o em ), T he M is s is s ip p ia n , M a rch 17, 19 2 0 , p . 2. "To th e E d ito r ," (le tt e r ), The M is s is s ip p ia n , A p r il 7, 1920, p . 1. f'A C ly m e n e ," (p o em ), The M is s is s ip p ia n , A p r il 14, 1920, p. 3. 288 "Study," (p oem ), T he M is s is s ip p ia n , A p r il 21, 192 0 , p. 4. " A lm a M a te r ," (p o em ), The M is s is s ip p ia n , M ay 12, 1920, p. 3. "T o a C o -e d ," (p o em ), O le M is s (the y e a r b o o k of th e U n iv e r s it y of M is s is s ip p i) , 1 9 1 9 -1 9 2 0 , X X IV , 174. R e v ie w o f In A p r il O n ce by W . A . P e r c y , T he M is s is s ip p ia n , N o v e m b e r 1, 1 9 2 0 , p. 5. R e v iew o f T u rn s and M o v ie s b y C onrad A ik en , T he M is s is s ip p ia n , F e b r u a r y T ^7T ^2T 71prin " C o -E d u c a tio n at O le M is s ," (p o em ), T he M is s is s ip p ia n , M ay 4, 1921, p. 5. " N o ctu rn e," The O le M is s (the y e a r b o o k o f th e U n iv e r s ity of M i s s i s s i p p i), 1 9 2 0 -1 9 2 1 , X X V , 2 1 4 -2 1 5 . R e v ie w o f A r ia da C apo b y E d n a St. V in c e n t M illa y , The M is s is s ip p ia n , J a n u a ry 13, 1 9 2 2 , p . 5. " A m e r ic a n D ram a: E u g en e O 'N e ill," (a rticle), T he M is s is s ip p ia n , F e b - . r u a r y 3, 1922, p . 5. "T he H ill," (p ro se s k e tc h ), T he M is s is s ip p ia n , M a rch 10, 1 9 2 2 , pp. 1 , 2 ; (T h e p ie c e is u n sig n ed ; h o w e v e r , in th e M a rch 17 is s u e , p. 5, the a ttr ib u tio n of th e sk e tc h i s m a d e to "W. F ." ) " A m e r ic a n D ram a In h ib itio n s," (a r tic le in tw o p a r ts ), T he M is s i s s i p p i - i a n , M a rch 17, 1 9 2 2 , p. 5. C on tin u ed M a rc h 2 4 , 1922, p. 5. " P o r tr a it," (p o em ), T he D ou b le D e a le r , 3 :3 3 7 , June 1922. R e p r in te d w ith o u t r e v is io n in S a lm a g u n d i. M ilw a u k e e , A p r il 30, 1932, p. 4 5 . R e v ie w o f L in d a C on d on , C y th e r e a , and T he B r ig h t Shaw l by J o se p h H e r g e s h e im e r , T he M is s is s ip p ia n , D e c e m b e r 15, 1922, p. 5. T he M a r b le F a u n . ( P o e m s .) B o sto n , [D e c e m b e r 1 5 ,] 1924. " P r e fa c e " b y P h il S tone. " D yin g G la d ia to r ," (p o em ), T he D ouble D e a le r , 7 :8 5 , J a n u a r y -F e b r u a r y 1 9 2 5 . R e p r in te d w ith o u t r e v is io n in S a lm a g u n d i. M ilw a u k e e , 1932, p . 4 3 . : i "N ew O r le a n s," ( e le v e n sh o r t s k e tc h e s ), T he D ou b le D e a le r , 7 :1 0 2 -1 0 7 ,; J a n u a r y -F e b r u a r y 1925. R e p r in te d w ith o u t r e v is io n in S a lm a g u n d i. M ilw a u k e e , 1 9 3 2 , pp. 1 3 -2 8 . "On C r itic is m ," ( a r t ic le ) , T he D oub le D e a le r , 7 :8 3 -8 4 , J a n u a r y -F e b r u a r y 1 9 2 5 . R e p r in te d w ith o u t r e v is io n in S a lm a g u n d i. M ilw a u k e e , 1 9 3 2 , pp . 2 9 -3 3 . 289 " M ir r o r s of C h a r tr e s S tr e e t," (sk e tc h ), N ew O r le a n s T im e s - P ic a y u n e , F e b r u a r y 8, 1925, Sunday m a g a z in e s e c ., pp. 1, 6 . R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O rlea n s S k e t c h e s , e d . C a r v e l C o llin s. N ew B r u n sw ic k , N ew J e r s e y , 1958, p p . 5 1 -5 7 . " D am on and P y th ia s U n lim ite d ," (sk e tc h ), N ew O r le a n s T im e s - P ic a y u n e , F e b r u a r y 15, 1925, Sunday m a g a z in e s e c . , p. 7. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er : N ew O rlea n s S k e tc h e s , ed . C a r v e l C o llin s . N ew B r u n sw ic k , N ew J e r s e y , 1958, p p . 5 9 -7 0 . " H o m e," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , F e b r u a r y 2 2 , 1925, Su nday m a g a z in e s e c ., p. 3. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er : N ew O r le a n s S k e tc h e s , ed . C a r v el C o llin s . N ew B r u n sw ic k , N ew J e r s e y , 195 8 , pp. 7 1 -7 9 - " J e a lo u sy ," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , M a rch 1, 1925, Su nday m a g a z in e s e c . , p. 2. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed . C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 195 8 , pp . 8 1 -9 0 . "T he F au n ," (p o em ), T h e D ouble D e a le r , 7 :1 4 8 , A p r il 1925. R e p r in te d w ith o u t r e v is io n in S a lm a g u n d i. M ilw a u k e e , 1 9 3 2 , p. 42. " V e r s e O ld and N a sc e n t: A P ilg r im a g e ," ( a r t ic le ) , T he D ou b le D e a le r , 7 :1 2 9 -1 3 1 , A p r il 1 9 2 5 . R e p r in te d w ith o u t r e v is io n in S a lm a g u n d i. M ilw a u k e e , 1932, p p . 3 4 -3 9 . " C h e e st," (sk e tc h ), N ew O r le a n s T im e s - P ic a y u n e , A p r il 5, 1925, Sunday m a g a z in e s e c . , p. 4 . R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c te d in W illia m F a u lk n er : N ew O r le a n s S k e t c h e s , ed . C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 1958, pp. 91 “ 98. "Out o f N a z a r e th ," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , A p r il 12, 1 9 2 5 , Sunday m a g a z in e s e c ., p . 4. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er : N ew O rlea n s S k e tc h e s , ed . C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 1 9 5 8 , pp. 9 9 -1 1 0 . "T he K ingdom o f G od," (sk e tc h ), N ew O r le a n s T im e s - P ic a y u n e , A p r il 2 6 , 1925, Sunday m a g a z in e s e c . , p. 4 . R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e t c h e s , ed. C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 1 9 5 8 , pp. 1 1 1 -1 1 9 . j'S h erw ood A n d e r s o n ," ( a r t ic le ) , D a lla s M o rn in g N e w s , A p r il 2 6 , 1925, j P a r t 3, p . 7. R e p r in te d in th e P r in c e to n U n iv e r s ity L ib r a r y C h ron -i i c l e , 1 8 :8 9 -9 4 , S p rin g 1957. f’The R o sa r y ," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , M ay 3, 1925, i Sunday m a g a z in e s e c . , p. 2. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er : N ew O r le a n s S k e tc h e s , ed . C a r v el C o llin s . N ew B ru n sw ick , N ew J e r s e y , 1958, pp . 1 2 1 -1 2 8 . 290 "T he C o b b ler," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , M ay 10, 19 2 5 , Sunday m a g a z in e s e c ., p. 7. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed. C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 195 8 , pp. 1 2 9 -1 3 4 . " C h an ce," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , M ay 17, 1925, Sun d ay m a g a z in e s e c ., p . 7. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed . C a r v e l C o l l in s . N ew B r u n sw ic k , N ew J e r s e y , 1958, p p . 1 3 5 -1 4 3 . " S u n set," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , M ay 2 4 , 1925, Sunday m a g a z in e s e c ., pp. 4, 7 . R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W in u im _ F a u I k ^ e d . C a r v el C o l lin s . N ew B r u n sw ic k , N ew J e r s e y , 1958, p p . 1 4 5 -1 5 7 . "The K id L e a r n s ," (sk e tc h ), N ew O r le a n s T im e s - P ic a y u n e , M ay 31, 1 9 2 5 , Sunday m a g a z in e s e c ., p. 2. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed . C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 1958, p p . 1 5 9 -1 6 7 . "The L ila c s ," (p o em ), T he D ouble D e a le r , 7 :1 8 5 -1 8 7 , Jun e 1925. R e p r in te d s lig h tly r e v is e d a s A G r ee n B ou gh , I. N ew Y ork , A p r il 2 0 , 1 9 3 3 , pp. 7 - 1 1 . t "The L ia r ," (sk e tc h ), N ew O r le a n s T im e s - P ic a y u n e , J u ly 2 6 , 1925, Su nday m a g a z in e s e c ., pp. 3, 6. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed . C a r v e l C o llin s. N ew B ru n sw ick , N ew J e r s e y , 1958, pp. 1 6 9 -1 8 4 . " E p iso d e ," (s k e tc h ), N ew O rlea n s T im e s - P ic a y u n e , A u g u st 16, 1925, Sunday m a g a z in e s e c ., p. 2. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er : N ew O r le a n s S k e tc h e s , ed. C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 195 8 , pp. 1 8 5 -1 9 0 . " C oun try M ic e ," (s k e tc h ), N ew O r le a n s T im e s - P ic a y u n e , S e p tem b e r 20,; 1 9 2 5 , Sunday m a g a z in e s e c ., p. 7. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed . C a r v e l C o llin s . N ew B ru n sw ick , N ew J e r s e y , 1958, p p . 1 9 1 -2 0 7 . "Yo H o and T w o B o ttle s of R um ," (sk e tc h ), N ew O rlea n s T im e s - P ic a y - j u n e, S e p te m b e r 2 7 , 192 5 , Sunday m a g a z in e s e c ., pp. 1, 2. R e p r in te d w ith ty p o g r a p h ic a l e r r o r s c o r r e c t e d in W illia m F a u lk n er: N ew O r le a n s S k e tc h e s , ed . C a r v e l C o llin s. N ew B ru n sw ick , N ew J e r s e y , 195 8 , p p . 2 0 9 -2 2 3 . j S o ld ie r s 1 P a y . (N o v e l.) N ew Y ork, [F e b r u a r y 2 5 ,] 1926. R ep rin ted , S ig n e t ed . N ew Y ork , 1959- A ll r e f e r e n c e s to the S ig n e t r e p r in t I h a v e b e e n c h e c k e d a g a in s t th o se of th e o r ig in a l e d itio n and fou n d to; b e u n ifo r m . M o sq u ito e s. (N o v e l.) N ew Y ork, [A p r il 3 0 ,] 1 9 2 7 . 291 S a r t o r is . (N o v e l.) N ew Y ork, [Jan u a ry 3 1 ,] 1929. R ep rin ted , S ig n et ed. N ew Y ork, 1953. A ll r e f e r e n c e s to th e S ig n et r e p r in t h a v e b e e n c h e ck ed a g a in s t th o s e of the o r ig in a l e d itio n and fou n d to be u n i fo r m . The Sound and th e F u r y . (N o v e l.) N ew Y ork, [O ctob er 7 ,] 1929. S a n ctu a ry . (N o v e l.) N ew Y ork, [F e b r u a r y 9 ,] 1931. S a lm a g u n d i. (C o lle c tio n of e s s a y s and p o e m s .) M ilw a u k ee, [A p ril 3 0 ,] 193 2 . " P r e fa c e " by P a u l R o m a in e, pp. 7 -9 . L igh t in A u g u st. (N o v e l.) N ew Y ork, [O cto b er 6 ,] 1932. A G r ee n B ou gh . (P o e m s .) N ew Y ork , [A p ril 2 0 ,] 1933. A b sa lo m , A b s a l o m (N o v e l.) N ew Y ork, [O cto b er 2 6 ,] 19 3 6 . The U n v a n q u ish ed . (N o v e l.) N ew Y ork, [F e b r u a r y 1 5 ,] 1938. The W ild P a l m s . (N o v e l.) N ew Y ork , [Ja n u a ry 19,] 1939. The H a m le t. (N o v e l.) N ew Y ork, [A p ril 1 ,] 1940. Go D ow n, M o se s and O th er S to r ie s . (S to r ie s .) New Y ork , [M ay 1 1 ,] 1942: K night1 s G a m b it. (S to r ie s .) N ew Y ork, [N o v em b er 7 ,] 1949. i "Sh erw ood A n d e r s o n ,1 1 (e s s a y ), A tla n tic , 1 9 1 :2 7 -2 9 , Jun e 1953. T h is e s r sa y is a p e r s o n a l r e m in is c e n c e , not to b e co n fu se d w ith F a u lk n e r 's' e a r lie r r e v ie w of A n d e r so n 's w o r k w h ich h a s th e sa m e t it le , p u b lis h e d in th e D a lla s M orn in g N e w s , A p r il 26, 1925, P a r t 3, p. 7. " F o rew o rd ," The F a u lk n er R ea d er (M is c e lla n e o u s c o lle c tio n ), ed . Saxe ; C om m ins-! N ew Y ork, [A p ril 1 ,] 1954, pp . ix -x i. F a u lk n e r 's " F o rew o rd " is s ig n e d "New Y ork / N o v em b er, 1953." A F a b le . (N o v e l.) N ew Y ork, [A u gu st 2 ,] 1954. The T ow n. (N o v e l.) N ew Y ork, [M ay 1,] 195 7 . T he M a n sio n . (N o v e l.) N ew Y ork, 1959. iThe R e iv e r s . (N o v e l.) N ew Y ork, 1962. j O ther W orks A le x a n d e r , F r a n z . "T he P s y c h o a n a ly s t L o o k s at C o n tem p o ra ry A r t ," A r t and P s y c h o a n a ly s is , ed. W illia m P h illip s . 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Asset Metadata

Creator Richardson, Harold Edward (author)

Core Title William Faulkner: From Past To Self-Discovery; A Study Of His Life And Work Through 'Sartoris' (1929)

Degree Doctor of Philosophy

Degree Program English

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

Tag Literature, Modern,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor McElderry, Bruce R. (committee chair), Arnold, Aerol (committee member), Bowman, Francis J. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-304318

Unique identifier UC11358909

Identifier 6402602.pdf (filename),usctheses-c18-304318 (legacy record id)

Legacy Identifier 6402602.pdf

Dmrecord 304318

Document Type Dissertation

Rights Richardson, Harold Edward

Type texts

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

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA