, Research Paper
Summary of April Seventh, 1928:
This subdivision of the book is normally referred to as & # 8220 ; Benjy & # 8217 ; s subdivision & # 8221 ; because it is narrated by the retarded youngest boy of the Compson household, Benjamin Compson. At this point in the narrative, Benjy is 33 old ages old & # 8211 ; in fact, today is his birthday & # 8211 ; but the narrative skips back and Forth in clip as assorted events trigger memories. When the reader first plunges into this narrative, the leaps in clip are hard to voyage or understand, although many scenes are marked by repeating images, sounds, or words. In add-on, a kind of chronology can be established depending on who is Benjy & # 8217 ; s caretaker: first Versh when Benjy is a kid, so T. P. when he is an stripling, so Luster when he is an grownup. One other fact that may confound first-time readers is the repeat of names. There are, for illustration, two Jasons ( male parent and boy ) , two Quentins ( Benjy & # 8217 ; s brother and Caddy & # 8217 ; s girl ) , and two Mauries ( Benjy himself before 1900 and Benjy & # 8217 ; s uncle ) . Benjy recalls three of import events: the eventide of his grandma & # 8220 ; Damuddy & # 8217 ; s & # 8221 ; decease in 1898, his name alteration in 1900, and Caddy & # 8217 ; s sexual promiscuousness and nuptials in 1910, although these events are punctuated by other memories, including the bringing of a missive to his uncle & # 8217 ; s kept woman in 1902 or 1903, Caddy & # 8217 ; s have oning aroma in 1906, a sequence of events at the gate of the house in 1910 and 1911 that culminates in his emasculation, Quentin & # 8217 ; s decease in 1910, his male parent & # 8217 ; s decease and funeral in 1912, and Roskus & # 8217 ; s decease some clip after this. I will sum up each event briefly.
The events of the present twenty-four hours ( 4/7/28 ) centre around Luster & # 8217 ; s hunt for a one-fourth he has lost someplace on the belongings. He received this one-fourth from his grandma Dilsey in order to travel to the circus that flushing. Luster takesBenjy with him as he searches by the golf class that used to be the Compson & # 8217 ; s grazing land, by the passenger car house, down by the subdivision of the Yoknapatawpha River, and eventually near Benjy & # 8217 ; s & # 8220 ; cemetery & # 8221 ; of jimson flowers in a bottle.
As the narrative opens, Benjy and Luster are by the golf class, where the golf players & # 8217 ; calls of & # 8220 ; caddie & # 8221 ; cause Benjy to & # 8220 ; beller & # 8221 ; because he mistakes their calls for his losing sister Caddy & # 8217 ; s name. In the subdivision, Luster finds a golf player & # 8217 ; s ball, which he subsequently tries to sell to the golf players ; they accuse him of stealing it and take it from him. Luster tries to maneuver Benjy off from the swing, where Miss Quentin and her & # 8220 ; beau & # 8221 ; ( one of the instrumentalists from the circus ) are sitting, but is unsuccessful. Quentin is ferocious and runs into the house, while her friend gags with Luster and asks him who visits Quentin. Luster replies that there are excessively many male visitants to separate.
Luster takes Benjy past the fencing, where Benjy sees schoolgirls go throughing with their satchels. Benjy moans whenever Luster tries to interrupt from the everyday way Benjy is used to. At Benjy & # 8217 ; s & # 8220 ; cemetery, & # 8221 ; Luster disturbs the agreement of flowers in the bluish bottle, doing Benjy to shout. At this Luster becomes frustrated and says & # 8220 ; beller. You want something to beller about. All right, so. Caddy. . . . Caddy. Beller now. Caddy & # 8221 ; ( 55 ) . Benjy & # 8217 ; s shouting biddings Dilsey, Luster & # 8217 ; s grandma, who scolds him for doing Benjy call and for upseting Quentin. They go in the kitchen, where Dilsey opens the oven door so Benjy can watch the fire. Dilsey has bought Benjy a birthday bar, and Luster blows out the tapers, doing Benjy call once more. Luster teases him by shuting the oven door so that the fire & # 8220 ; goes away. & # 8221 ; he loves.
Luster takes Benjy to the library, where his calls disturb Jason, who comes to the door and cries at Luster. Luster asks Jason for a one-fourth. At dinner, Jason interrogates Quentin about the adult male she was with that afternoon and threatens to direct Benjy to an refuge in Jackson. Quentin threatens to run off, and she and Jason battle. She runs out of the room. Benjy goes to the library, where Luster finds him and shows him that Quentin has given him a one-fourth. Luster dresses Benjy for bed ; when Benjy & # 8217 ; s bloomerss are off he looks down and calls when he is reminded of his emasculation. Luster puts on his nightie and the two of them watch as Quentin climbs out her window and down a tree. Luster puts Benjy to bed.
Benjy & # 8217 ; s memories, in chronological order:
1. Damuddy & # 8217 ; s decease, 1898: Benjy is three old ages old and his name at this point is still Maury. Caddy is seven, Quentin is older ( nine? ) and Jason is between seven and three.
The four kids are playing in the subdivision of the river. Roskus calls them to supper, but Caddy refuses to come. She squats down in the river and gets her frock moisture ; Versh tells her that her female parent will flog her for that. Caddy asks Versh to assist her take her frock off, and Quentin warns him non to. Caddy takes off her frock and Quentin hits her. The two of them battle in the subdivision and acquire boggy. Caddy says that she will run off, which makes Maury/Benjy call ; she instantly takes it back. Roskus asks Versh to convey the kids to the house, and Versh puts Caddy & # 8217 ; s dress back on her.
They head up to the house, but Quentin stays behind, throwing stones into the river. The kids notice that all the visible radiations are on in the house and presume that their parents are holding a party. Father tells the kids to be quiet and to eat dinner in the kitchen ; he won & # 8217 ; t state them why they have to be quiet. Caddy asks him to state the other kids to mind her for the eventide, and he does. The kids hear their female parent weeping, which makes Maury/Benjy call. Quentin is besides agitated by her weeping, but Caddy reassures him that she is merely singing. Jason excessively begins to shout.
The kids travel outdoors and down to the retainers & # 8217 ; quarters, where Frony and T. P. ( who are kids at this point ) have a jar of lightning bugs. Frony asks about the funeral, and Versh scolds her for adverting it. The kids discuss the lone decease they know & # 8211 ; when their female horse Nancy died and the turkey vultures & # 8220 ; undressed her & # 8221 ; in a ditch. Caddy asks T. P. to give Maury/Benjy his jar of lightning bugs to keep. The kids go back up to the house and halt outside the parlour window. Caddy climbs up a tree to see in the window, and the kids watch her boggy shortss as she climbs.
Dilsey comes out of the house and cries at them. Caddy tells the others that their parents were non making anything indoors, although she may be seeking to protect them from the truth. The kids travel indoors and upstairs. Father comes to assist insert them into bed in a unusual room. Dilsey dresses them and insert them in, and they go to kip.
2. Benjy & # 8217 ; s name alteration, 1900: Benjy is five old ages old, Caddy is nine, etc.
Benjy is sitting by the library fire and watching it. Dilsey and Caddy discuss Benjy & # 8217 ; s new name ; Dilsey wants to cognize why his parents have changed it, and Caddy answers that female parent said Benjamin was a better name for him than Maury was. Dilsey says that & # 8220 ; folks don & # 8217 ; Ts have no fortune, altering names & # 8221 ; ( 58 ) . Caddy brings Benjy to where her female parent is lying in the sleeping room with a fabric on her caput, to state good dark. Benjy can hear the clock ticking and the rain falling on the roof. Mother chides Caddy non to transport him because he is excessively heavy and will destroy her position. She holds Benjy & # 8217 ; s face in her custodies and repetitions & # 8220 ; Benjamin & # 8221 ; over and over. Benjy calls until Caddy holds his favourite shock absorber over his female parent & # 8217 ; s caput. She leads him to the fire so that he can watch it. Father picks him up, and he watches the contemplation of Caddy and Jason contending in the library mirror. Father puts him down and interrupt up Caddy and Jason, who are contending because Jason cut up all of Benjy & # 8217 ; s paper dolls. Father takes Jason to the room following door and spanks him. They all sit by the fire, and Benjy holds his shock absorber. Quentin comes and sits following to them. He has been in a battle at school and has a contusion. Father asks him about it. Versh sits following to them and state them a narrative about a & # 8220 ; bluegum & # 8221 ; he knows who changed his name excessively. Father tells him to be quiet. Caddy and Versh feed Benjy his dinner, and the four kids sit in male parent & # 8217 ; s lap. Benjy says that Caddy and Quentin smell like trees and rain.
3. Versh, Caddy and Benjy travel outdoors, December 23, 1902: Benjy is seven old ages old and Caddy is eleven.
Benjy is shouting because he wants to travel outside. Mother says it is excessively cold for him and he will stop dead his custodies. She says that if he won & # 8217 ; t be quiet he will hold to travel to the kitchen. Versh replies that Dilsey wants him out of the kitchen because she has a batch of cooking to make, and Uncle Maury tells her to allow him travel outdoors. Versh puts on his coat and they go outside ; Versh tells him to maintain his custodies in his pockets. Caddy comes through the gate, place from school. She takes his custodies and they run through the fallen leaves into the house. Caddy puts him by the fire, and Versh starts to take his coat off, but Caddy asks if she can take him outdoors once more. Versh puts on his overshoes once more, and mother takes his face in her custodies and calls him & # 8220 ; my hapless babe, & # 8221 ; but Caddy kneels by him and tells him that he is non a hapless babe at all because he has her. Benjy notices that she smells like trees.
4. Caddy and Benjy present Uncle Maury & # 8217 ; s missive to Mrs. Patterson, December 25, 1902.
Caddy and Benjy cross the pace by the barn, where the retainers are killing a hog for dinner. Caddy tells Benjy to maintain his custodies in his pockets and lets him keep the missive. She wonders why Uncle Maury did non direct Versh with the missive. They cross the frozen subdivision and come to the Patterson & # 8217 ; s fencing. Caddy takes the missive and mount the fencing to present it. Mrs. Patterson comes out of the house.
5. Benjy delivers a missive to Mrs. Patterson entirely, spring 1903: Benjy is eight old ages old.
Benjy is at the Patterson & # 8217 ; s fencing. Mr. Patterson is in the garden cutting flowers. Mrs. Patterson runs from the house to the fencing, and Benjy calls when he sees her angry eyes. She says that she told Maury non to direct Benjy entirely once more, and asks Benjy to give her the missive. Mr. Patterson comes running, climbs the fencing and takes the missive. Benjy runs off.
6. Caddy wears perfume, 1906: Benjy is ten old ages old and Caddy is 14.
Caddy tries to embrace Benjy but he cries and pushes her away. Jason says that he must non like her & # 8220 ; priggish frock, & # 8221 ; and says that she thinks she is all grown up merely because she is 14. Caddy tries to hush Benjy, but he disturbs their female parent, who calls them to her room. Mother tells Caddy to give Benjy his box full of cut-out stars. Caddy walks to the bathroom and washes the aroma off. Benjy goes to the door. Caddy opens the door and hugs him ; she smells like trees once more. They go into Caddy & # 8217 ; s room and she sits at her mirror. Benjy starts to shout once more. She gives him the bottle of aroma to smell and he runs off, shouting. She realizes what made him call and tells him she will ne’er have on it once more. They go to the kitchen, and Caddy tells Dilsey that the aroma is a present from Benjy to her. Dilsey takes the bottle, and Caddy says that & # 8220 ; we don & # 8217 ; t like aroma ourselves & # 8221 ; ( 43 ) .
7. Caddy in the swing, 1907? : Benjy is eleven or twelve and Caddy is 15 or 16.
Benjy is out in the pace at dark. T. P. calls for him through the window. He watches the swing, where there are & # 8220 ; two now, so one in the swing & # 8221 ; ( 47 ) . Caddy comes running to him, inquiring how he got out. She calls for T. P. Benjy calls and pulls at her frock. Charlie, the male child she is with on the swing, comes over and asks where T. P. is. Benjy calls and she tells Charlie to travel off. He goes, and she calls for T. P. once more. Charlie comes back and puts his custodies on Caddy. She tells him to halt, because Benjy can see, but he doesn & # 8217 ; t. She says she has to take Benjy to the house. She takes his manus and they run to the house and up the porch stairss. She hugs him, and they go indoors. Charlie is naming her, but she goes to the kitchen sink and scour her oral cavity with soap. Benjy sees that she smells like trees once more.
8. Benjy sleeps entirely for the first clip, 1908: Benjy is 13 old ages old.
Dilsey tells Benjy that he is excessively old to kip with anyone else, and that he will kip in Uncle Maury & # 8217 ; s room. Uncle Maury has a black oculus and a conceited oral cavity, and Father says that he is traveling to hit Mr. Patterson. Mother scolds him and male parent apologizes. He is intoxicated.
Dilsey puts Benjy to bed entirely, but he cries, and Dilsey comes back. Then Caddy comes in and prevarications in the bed with him. She smells like trees. Dilsey says she will go forth the visible radiation on in Caddy & # 8217 ; s room so she can travel back at that place after Benjy has fallen asleep.
9. Caddy loses her virginity, 1909: Benjy is 14 old ages old and Caddy is 18.
Caddy walks rapidly past the door where female parent, male parent, and Benjy are. Mother calls her in, and she comes to the door. She glances at Benjy, so glances off. He begins to shout. He goes to her and pulls at her frock, shouting. She is against the wall, and she starts to shout. He chases her up the stepss, shouting. She stops with her dorsum against the wall, weeping, and looks at him with her manus on her oral cavity. Benjy pushes her into the bathroom.
10. Caddy & # 8217 ; s nuptials, 1910: Benjy is 15 old ages old and Caddy is 19.
Benjy, Quentin, and T. P. are outside the barn, and T. P. has given Benjy some sarsaparilla to imbibe ; they are both rummy. Quentin pushes T. P. into the hog trough. They fight, and T. P. pushes Benjy into the trough. Quentin beats T. P. , who can & # 8217 ; t halt laughing. He keeps stating & # 8220 ; whooey! & # 8221 ; . Versh comes and cries at T. P. Quentin gives Benjy some more sarsaparilla to imbibe, and he cries. T. P. takes him to the basement, and so goes to a tree outside the parlour. T. P. drinks some more. He gets a box for Benjy to stand on so he can see into the parlour. Through the window, Benjy can see Caddy in her nuptials head covering, and he cries out, seeking to name to her. T. P. tries to hush him. Benjy falls down and hits his caput on the box. T. P. drags him to the basement to acquire more sarsaparilla, and they fall down the steps into the basement. They climb up the stepss and autumn against the fencing and the box. Benjy is shouting aloud, and Caddy comes running. Quentin besides comes and begins kicking T. P. Caddy clinchs Benjy, but she doesn & # 8217 ; t smell like trees any more, and Benjy begins to shout.
11. Benjy at the gate weeping, 1910.
Benjy is in the house looking at the gate and weeping, and T. P. tells him that no affair how hard he cries, Caddy is non coming back.
Subsequently, Benjy stands at the gate weeping, and watches some schoolgirls pass by with their satchels. Benjy ululation at them, seeking to talk, and they run by. Benjy runs along the interior of the fencing following to them to the terminal of his pace. T. P. comes to acquire him and nags him for frightening the misss.
12. Quentin & # 8217 ; s decease, 1910.
Benjy is lying in T. P. & # 8217 ; s bed at the retainers & # 8217 ; quarters, where T. P. is throwing sticks into a fire. Dilsey and Roskus discuss Quentin & # 8217 ; s decease without adverting his name or Caddy & # 8217 ; s name. Roskus negotiations about the expletive on the household, stating & # 8220 ; aint the mark of it puting right at that place on that bed. Aint the mark of it been here for folks to see 15 old ages now & # 8221 ; ( 29 ) . Dilsey tells him to be quiet, but he continues, stating that there have been two marks now ( Benjy & # 8217 ; s deceleration and Quentin & # 8217 ; s decease ) , and that there would be one more. Dilsey warns him non to advert Caddy & # 8217 ; s name. He replies that & # 8220 ; they aint no fortune on this topographic point & # 8221 ; ( 29 ) . Dilsey tucks Benjy into T. P. & # 8217 ; s bed and pulls the screens up.
13. Benjy attacks a miss outside the gate and is castrated, 1911: Benjy is 16 old ages old.
Benjy is standing at the gate weeping, and the schoolgirls come by. They tell each other that he merely runs along the interior of the fencing and can & # 8217 ; t catch them. He unlatches the gate and chases them, seeking to speak to them. They scream and run off. He catches one miss and attempts to speak to her, possibly tries to ravish her.
Subsequently, father negotiations about how angry Mr. Burgess ( her male parent ) is, and wants to cognize how Benjy got outside the gate. Jason says that he bets father will hold to direct Benjy to the refuge in Jackson now, and father tells him to hush.
14. Mr. Compson & # 8217 ; s decease, 1912: Benjy is 17.
Benjy wakes up and T. P. brings him into the kitchen where Dilsey is singing. She stops singing when Benjy begins to shout. She tells T. P. to take him outdoors, and they go to the subdivision and down by the barn. Roskus is in the barn milking a cow, and he tells T. P. to complete milking for him because he can & # 8217 ; t utilize his right manus any more. He says once more that there is no fortune on this topographic point.
Subsequently that twenty-four hours, Dilsey tells T. P. to take Benjy and the babe miss Quentin down to the retainers & # 8217 ; quarters to play with Luster, who is still a kid. Frony scolds Benjy for taking a plaything off from Quentin, and brings them up to the barn. Roskus is watching T. P. milk a cow.
Subsequently, T. P. and Benjy are down by the ditch where Nancy & # 8217 ; s castanetss are. Benjy can smell father & # 8217 ; s decease. T. P. takes Benjy and Quentin to his house, where Roskus is sitting following to the fire. He says & # 8220 ; that & # 8217 ; s three, thank the Lawd. . . I told you two old ages ago. They aint no fortune on this topographic point & # 8221 ; ( 31 ) . He remarks on the bad fortune of ne’er adverting a kid & # 8217 ; s female parent & # 8217 ; s name and conveying up a kid ne’er to cognize its female parent. Dilsey shushes him, inquiring him if he wants to do Benjy call once more. Dilsey puts him to bed in Luster & # 8217 ; s bed, puting a piece of wood between him and Luster.
15. Mr. Compson & # 8217 ; s funeral, 1912.
Benjy and T. P. delay at the corner of the house and watch Mr. Compson & # 8217 ; s coffin carried by. Benjy can see his male parent prevarication at that place through the glass in the coffin.
16. Trip to the graveyard, 1912.
Benjy delaies for his female parent to acquire into the passenger car. She comes out and asks where Roskus is. Dilsey says that he can & # 8217 ; t travel his weaponries today, so T. P. will drive them. Mother says she is afraid to allow T. P. thrust, but she gets in the passenger car anyhow. Mother says that maybe it would be for the best if she and Benjy were killed in an accident, and Dilsey tells her non to speak that manner. Benjy begins to shout and Dilsey gives him a flower to keep. They begin to drive, and female parent says she is afraid to go forth the babe Quentin at place. She asks T. P. to turn the passenger car about. He does, and it tips precariously but doesn & # 8217 ; t topple. They return to the house, where Jason is standing outside with a pencil behind his ear. Mother tells him that they are traveling to the graveyard, and he asks her if that was all she came back to state him. She says she would experience safer if he came, and he tells her that Father and Quentin won & # 8217 ; t ache her. This makes her call, and Jason tells her to halt. Jason tells T. P. to drive, and they take off once more.
17. Roskus & # 8217 ; s decease, subsequently 1920s: Luster is old plenty to take attention of Benjy by now.
Dilsey is & # 8220 ; groaning & # 8221 ; at the retainers & # 8217 ; quarters. Benjy begins to shout and the Canis familiaris begins to ululate, and Dilsey stops groaning. Frony tells Luster to take them down to the barn, but Luster says he won & # 8217 ; t travel down at that place for fright he will see Roskus & # 8217 ; s shade like he did last dark, beckoning his weaponries.
Analysis of April 7, 1928:
The rubric of this novel comes from Shakespeare & # 8217 ; s Macbeth, Act five, scene five, in Macbeth & # 8217 ; s celebrated address about the nonsense of life. He states that it is & # 8220 ; a narrative / Told by an imbecile, full of sound and rage, / meaning nothing. & # 8221 ; One could reason that Benjy is the & # 8220 ; idiot & # 8221 ; referred to in this address, for so his subdivision seems, at first reading, to & # 8220 ; mean nothing. & # 8221 ; No one sketch in his narrative seems to be peculiarly of import, much of it detailing the minutiae of his day-to-day modus operandi. His address itself, the & # 8220 ; bellering & # 8221 ; with which me makes himself heard, does, in fact, & # 8220 ; mean nil, & # 8221 ; since he is unable to show himself even when he wants to in a manner other than ululating. However, Benjy Compson is non simply an imbecile, and his sectio N is much more meaningful than it foremost seems.
When discoursing Mr. Compson & # 8217 ; s decease, Roskus states that Benjy & # 8220 ; cognize a batch more than folks thinks & # 8221 ; ( 31 ) , and in fact, for all his amentia, Benjy does feel when things are incorrect with his self-contained universe, particularly when they concern his sister Caddy. Like an animate being, Benjy can & # 8220 ; smell & # 8221 ; when Caddy has changed ; when she wears perfume, he states that she no longer smells & # 8220 ; like trees, & # 8221 ; and the retainers claim that he can smell decease. He can besides feel someway when Caddy has lost her virginity ; she has changed to him. From the clip she loses her virginity on, she no longer smells like trees to him. Although his subdivision at first nowadayss itself as an nonsubjective snapshot of a retarded male child & # 8217 ; s perceptual experiences of the universe, it is more ordered and more intelligent than that.
Most of the memories Benjy relates in his subdivision have to make with Caddy, and specifically with minutes of loss related to Caddy. The first memory of Damuddy & # 8217 ; s decease, for illustration, marks a alteration in his household construction and a alteration in his brother Jason, who was the closest to Damuddy and slept in her room. His many memories of Caddy are largely concerned with her gender, a fact that changes her relationship with him and finally removes her from his life. His ulterior memories are besides associated with some kind of loss: the loss of his grazing land, of his male parent, and the loss associated with his emasculation. Critics have pointed out that Benjy & # 8217 ; s narration is & # 8220 ; timeless, & # 8221 ; that he can non separate between present and past and therefore relives his memories as they occur to him. If this is the instance, he is caught in a procedure of invariably renewing his sister in memory and losing her at the same time, of making and losing at the same clip. His life is a changeless rhythm of loss and degenerative alteration.
If Benjy is trapped in a invariably play backing sequence of losingss, the objects that he fixates on seem to repeat this province. He loves fire, for case, and frequently stares into the & # 8220 ; bright forms & # 8221 ; of the fire while the universe revolves around him. The word & # 8220 ; fire & # 8221 ; is mentioned legion times in the memory of his name alteration. Caddy and the retainers know that he stops shouting when he looks at the fire, which is the ground in the present twenty-four hours that Luster makes a fire in the library even though one is non needed. The fire is a symbolic object ; it is conventionally associated with the contrast between light and dark, heat and cold. It is a comfort, non simply to Benjy because of the pleasance he receives in watching it, but because it is associated with the fireplace, the centre of the place. As critics have pointed out, it is frequently Caddy who places Benjy in forepart of the fire: & # 8220 ; she led me to the fire and I looked at the bright, smooth forms & # 8221 ; ( 64 ) . The fire is hence tied in Benjy & # 8217 ; s head with the thought of Caddy ; both are warm and soothing forces within a cold household. But unlike Caddy, the fire is unchanging ; there will ever be a fire, even after she leaves him. The fact that Benjy burns himself on the kitchen range after Luster closes the oven door reveals the hurting & # 8211 ; both physical and mental & # 8211 ; that Benjy associates with Caddy & # 8217 ; s absence.
Another object that provides comfort to Benjy is the library mirror. Like the fire, the mirror plays a big portion in the memory of his name alteration, as Benjy watches the assorted members of his household move in and out of the mirror: & # 8220 ; Caddy and Jason were contending in the mirror. . . . we could see Caddy contending in the mirror and Father put me down and went into the mirror and fought excessively. . . . He rolled into the corner, out of the mirror. Father brought Caddy to the fire. They were all out of the mirror & # 8221 ; ( 64-65 ) . The mirror is a frame of mention through which Benjy sees the universe ; people are either in or out of the mirror, and he does non understand the construct of contemplation. Like the mirror, Benjy & # 8217 ; s subdivision of the book provides readers with a similar exact contemplation of the universe that Benjy sees, framed by his memories. Fictional characters slide in and out of the mirror of his perceptual experience, their conversations and actions accurately reported but slightly distorted in the procedure.
As the & # 8220 ; tale told by an imbecile, & # 8221 ; Benjy & # 8217 ; s subdivision makes up the centre meat of the narrative of the Compson household calamity. And the scene of Damuddy & # 8217 ; s decease in many ways makes up the centre around which this subdivision and the full narrative revolve. Faulkner has said that the narrative grew out of the image of a small miss & # 8217 ; s boggy shortss as she climbs a tree to look into the parlour windows at the funeral taking topographic point. From this image a narrative evolved, a narrative & # 8220 ; without secret plan, of some kids being sent off from the house during the grandma & # 8217 ; s funeral. There were excessively immature to be told what was traveling on and they saw things merely by the way to the infantile games they were playing & # 8221 ; ( Millgate, 96 ) . This original narrative was entitled & # 8220 ; Twilight, & # 8221 ; and the narrative grew into a novel because Faulkner fell in love with the character of this small miss to such an extent that he endeavor to state her narrative from four different point of views.
If this one scene is the centre of the narrative, it is besides a microcosm of the events to follow. The interactions of the kids in this scene prefigure their dealingss in the hereafter and in fact the full hereafter of the Compson household. Thus Caddy & # 8217 ; s soaking her frock in the H2O of the subdivision is a metaphor for the sexual autumn that will torture Quentin and destroy the household:
She was wet. We were playing in the subdivision and Caddy squatted down and got her frock moisture and Versh said,
& # 8220 ; Your mommer traveling to flog you for acquiring your frock wet. & # 8221 ;
. . .
& # 8220 ; It & # 8217 ; s non wet. & # 8221 ; Caddy said. She stood up in the H2O and looked at her frock. & # 8220 ; I & # 8217 ; ll take it off. & # 8221 ; she said. & # 8220 ; Then it & # 8217 ; ll be dry. & # 8221 ;
& # 8220 ; I bet you won & # 8217 ; t. & # 8221 ; Quentin said.
& # 8220 ; I bet I will. & # 8221 ; Caddy said.
& # 8220 ; I bet you better not. & # 8221 ; Quentin said.
. . .
& # 8220 ; You merely take your frock off, & # 8221 ; Quentin said. Caddy took her frock off and threw it on the bank. Then she didn & # 8217 ; Ts have on anything but her bodice and shortss, and Quentin slapped her and she slipped and fell down in the H2O ( 17-18 ) .
Caddy sullies her garments in an act that prefigures her ulterior gender. She so takes off her frock, a farther sexual metaphor, doing Quentin to go angered and slap her. Merely as the loss of her virginity disturbances Quentin to the point of self-destruction, his angry and abashed reaction to taking off her frock here reveals the covetous protectiveness he feels for her gender. Benjy, excessively, is traumatized by the muddying of Caddy & # 8217 ; s frock: & # 8220 ; Caddy was all moisture and muddy behind, and I started to shout and she came and squatted in the H2O & # 8221 ; ( 19 ) . Merely as her gender will do his universe to check subsequently on, her boggy frock here causes him to shout.
Jason, excessively, is a miniature version of what he will go in this scene. While Caddy and Quentin battle in the subdivision, Jason stands & # 8220 ; by himself farther down the subdivision, & # 8221 ; prefiguring the isolation from the remainder of his household that will qualify his ulterior being ( 19 ) . Although the other kids inquire him non to state their male parent that they have been playing in the subdivision, the first thing he does when he sees father is tattle. He is as perverse and mean here as he is sadistic in the 3rd subdivision of the book. His reaction to Damuddy & # 8217 ; s decease, excessively, is a illumination for the manner he will cover with the loss that he sees in Caddy & # 8217 ; s treachery of the household subsequently on:
& # 8220 ; Do you believe the turkey vultures are traveling to discase Damuddy. & # 8221 ; Caddy said. & # 8220 ; You & # 8217 ; re crazy. & # 8221 ;
& # 8220 ; You & # 8217 ; re a skizzard. & # 8221 ; Jason said. He began to shout.
& # 8220 ; You & # 8217 ; re a knobnot. & # 8221 ; Caddy said. Jason cried. His custodies were in his pockets.
& # 8220 ; Jason traveling to be rich man. & # 8221 ; Versh said. & # 8220 ; He keeping his money all the clip & # 8221 ; ( 35-36 ) .
Here Jason calls over the loss of Damuddy with his custodies in his pockets, & # 8220 ; keeping his money, & # 8221 ; merely as subsequently he will sublimate his choler at Caddy & # 8217 ; s absence by going a mean workaholic and defalcating 1000s of dollars from Quentin and his female parent.
The scene ends with the image of Caddy & # 8217 ; s boggy shortss as she climbs the tree: & # 8220 ; We watched the boggy underside of her shortss. Then we couldn & # 8217 ; t see her. We could hear the tree walloping. . . . the tree quit threshing. We looked up into the still branches & # 8221 ; ( 39 ) . This image of Caddy & # 8217 ; s boggy unmentionables vanishing into the subdivisions of the tree, the scene that prompted Faulkner to compose the full novel, is, as critic John T. Matthews points out, an image of Caddy disappearance, merely as she will vanish from the lives of her three brothers:
What the novel has made, it has besides lost. . . . [ Caddy ] is memorable exactly because she inhabits the memories of her brothers and the novel, and memory for Faulkner ne’er transcends the sense of loss. . . . Caught in Faulkner & # 8217 ; s head as she climbs out of the book, Caddy is the figure that the novel is written to lose ( Matthews, 2-3 ) . Thus the seminal scene in this subdivision of the narrative is that of the sullied Caddy, & # 8220 ; mounting out of & # 8221 ; Benjy & # 8217 ; s life.
The scene of Damuddy & # 8217 ; s decease is non the lone portion of this subdivision that forecasts the hereafter. Like a Grecian calamity, this subdivision is imbued with a sense of impending catastrophe, and in fact the events of the present twenty-four hours chronicle a household that has fallen into decay. For Benjy, the disintegration of the life he knows is wrapped up in Caddy and her gender, which finally leads her to abandon him. For his female parent and the retainers, the household & # 8217 ; s death is a destiny that can non be avoided, of which Benjy & # 8217 ; s amentia and Quentin & # 8217 ; s decease are marks. This is what prompts Roskus to repeatedly vow that & # 8220 ; they aint no fortune on this topographic point, & # 8221 ; and what causes female parent to execute the about ritualistic ablution of altering Benjy & # 8217 ; s name. It is as if altering his name from Maury, the name of a Bascomb, will somehow debar the black destiny that the Compson blood seems to convey. This overpowering sense of an ineluctable household expletive will resurface many times throughout the book.
Summary of June Second, 1910:
This subdivision of the book inside informations the events of the twenty-four hours of Quentin & # 8217 ; s self-destruction, from the minute he wakes in the forenoon until he leaves his room that dark, headed to the river to submerge himself. Like Benjy & # 8217 ; s subdivision, this subdivision is narrated in watercourse of consciousness, skiding invariably between contemporary events and memories ; nevertheless, Quentin & # 8217 ; s subdivision is non every bit disjointed at Benjy & # 8217 ; s, irrespective of his agitated mental province. As with Benjy, most of the memories he relates are centered on Caddy and her precocious gender.
The present twenty-four hours:
Quentin aftermaths in his Harvard residence hall room to the sound of his ticker ticking: & # 8220 ; when the shadow of the sash appeared on the drape it was between seven and eight oclock and so I was in clip once more, hearing the ticker & # 8221 ; ( 76 ) . This is the ticker his male parent gave him when he came to Harvard. He tries to disregard the sound, but the more he tries, the louder it seems. He turns the ticker over and returns to bed, but the ticking goes on. His roomie Shreve appears in the room access and asks him if he is traveling to chapel, so runs out the door to avoid being late himself. Quentin watches his friends running to chapel out the window of his residence hall room, so listens to the school & # 8217 ; s bell chiming the hr ( 8:00 ante meridiem ) .
He goes to the chest of drawers and picks up his ticker, tapping it against the side of the chest of drawers to interrupt the glass. He twists the custodies of the ticker off, but the ticker keeps clicking. He notices that he cut himself in the procedure and meticulously cleans his lesion with I. He fastidiously packs up all his apparels except two suits, two braces of places, and two chapeaus, so locks his bole and piles his textbook on the sitting-room tabular array, as the quarter-hour bell bells.
He bathes and puts on a new suit and his ( now broken ) ticker, puts his bole key into an envelope addressed to his male parent, so writes two noes and seals them. He goes out the door, knocking into his returning roomie on the manner, who asks him why he is all dressed up. The half-hour bells and Quentin walks into Harvard Square, to the station office. He buys casts and mails one missive to his male parent and keeps one for Shreve in his coat pocket. He is looking for his friend & # 8220 ; the Deacon, & # 8221 ; an bizarre black adult male who befriends all the Southern pupils at Harvard. He goes out to breakfast ; while he is eating he hears the clock work stoppage the hr ( 10:00 ante meridiem ) .
Quentin continues to walk around the square, seeking to avoid looking at redstem storksbills, but finds it impossible to get away clip like that. He finally walks into a jewelry maker & # 8217 ; s and asks him about repairing his ticker. He asks if any of the tickers in the window is right, and stops the jewelry maker before he can state him wha
T clip it is. The jewelry maker says that he will repair his ticker this afternoon, but Quentin takes it back and says he will acquire it fixed later. Walking back out into the street, he buys two six-pound flat-irons ; he chooses them because they are “heavy enough” but will look like a brace of places when they are wrapped up and he is transporting them around the Square ( 85 ) .
He takes a fruitless overseas telegram auto drive, so gets off the auto on a span, where he watches one of his friends rowing on the river. He walks back to the Square as the bell chimes the one-fourth hr ( 11:15 ) , and he meets up with the Deacon and gives him the missive he has written to Shreve, inquiring him to present it tomorrow. He tells the Deacon that when he delivers the missive tomorrow Shreve will hold a present for him. As the bell chimes the 30 minutes, he runs into Shreve, who tells him a missive arrived for him this forenoon. Then he gets on another auto as the bells chime 11:45.
When he gets off the auto he is near a creaky town on the Charles River, and he walks along the river until he comes across three male childs angling on a span over the river ; he hides the level chainss under the border of the span before striking up a conversation with the male childs. They notice that he has a unusual speech pattern and inquire if he is from Canada ; he asks them if there are any mills in town ( mills would hold hourly whistlings ) . He walks on toward the town, although he is dying to maintain far plenty off from the church spire & # 8217 ; s clock to render its face indecipherable. Finally he arrives in town and walks into a bakeshop ; there is cipher behind the counter, but there is a small Italian immigrant miss standing before it. A adult female enters behind the counter and Quentin buys two buttockss. He tells the proprietress that the small miss would wish something excessively ; the proprietress eyes the miss suspiciously and accuses her of stealing something. Quentin defends her and she extends her manus to uncover a Ni. The adult female wraps up a five-cent loaf of staff of life for the miss, and Quentin puts some money on the counter and buys another roll every bit good. The adult female asks him if he is traveling to give the roll to the miss, and he says he is. Still moving exasperated, she goes into a back room and comes out with a deformed bar ; she gives it to the miss, stating her it won & # 8217 ; t taste any different than a good bar. The miss follows Quentin out of the shop, and he takes her to a apothecary’s shop and buys her some ice pick. They leave the apothecary’s shop and he gives her one of the buttockss and says adieu, but she continues to follow him. Not cognizing precisely what to make, he walks with her toward the immigrant vicinity across the train paths where he assumes she lives. She will non speak to him or bespeak where she lives. He asks some work forces in forepart of a shop if they know her, and they do, but they don & # 8217 ; T know where she lives either. They tell him to take her to the town marshal & # 8217 ; s office, but when he does the marshal International Relations and Security Network & # 8217 ; t there. Quentin decides to take her down to her vicinity and hopefully person will claim her. At one point she seems to state him that a certain house is hers, but the adult female inside doesn & # 8217 ; T know her. They continue to walk through the vicinity until they come out on the other side, by the river. Quentin gives a coin to the miss, so runs off from her along the river. He walks along the river for a piece, so all of a sudden meets up with the small miss once more. They walk along together for a piece, still looking for her house ; finally they turn back and walk toward town once more. They come across some male childs swimming, and the male childs throw H2O at them. The haste toward town, but the miss still won & # 8217 ; t state him where she lives. Suddenly a adult male flies at them and onslaughts Quentin ; he is the small miss & # 8217 ; s brother. He has the town marshal with him, and they take him into town to speak to the constabulary because they think he was seeking to nobble the miss. In town they meet up with Shreve, Spoade and Gerald, Quentin & # 8217 ; s friends, who have come into town in Gerald & # 8217 ; s female parent & # 8217 ; s auto. Finally after discoursing everything at length, the marshal Lashkar-e-Taibas Quentin travel, and he gets into the auto with his friends and drives off.
As they drive Quentin slides into a sort of enchantment wherein he remembers assorted events from his yesteryear, largely to make with her precocious gender ( to be discussed subsequently ) . While his is lost in this revery the male childs and Gerald & # 8217 ; s female parent have gotten out of the auto and set up a field day. Suddenly he comes to, hemorrhage, and the male childs tell him that he merely all of a sudden began pluging Gerald and Gerald beat him up. They tell him that he began shouting & # 8220 ; did you of all time have a sister? Did you? & # 8221 ; so attacked Gerald out of the blue. Quentin is more concerned about the province of his apparels than anything else. His friends want to take the overseas telegram auto back to Boston without Gerald, but Quentin tells them he doesn & # 8217 ; t want to travel back. They ask him what he plans to make ( possibly they suspect something about his self-destructive programs ) . They go back to the party, and Quentin walks easy toward the metropolis as the dusk descends.
Finally Quentin gets on a overseas telegram auto. Although it is dark by now, he can smell the H2O of the river as they pass by it. As they pass the Harvard Square station office once more, he hears the clock chiming but has no thought what clip it is. He plans to return to the span where he left his flatirons, but he has to rinse his apparels foremost in order to transport out his programs right. He returns to his residence hall room and takes off his apparels, meticulously rinsing the blood off his waistcoat with gasolene. The bell chimes the 30 minutes as he does so. Back in his darkened room, he looks out the window for a piece, so as the last bell of the three-fourthss hr sounds, he puts his apparels and vest back on. He walks into Shreve & # 8217 ; s room and puts a missive and his ticker in the desk drawer. He remembers that he hasn & # 8217 ; t brushed his dentitions, so he goes back into his room and takes the toothbrush out of his bag. He brushes his dentitions and returns the coppice to the bag, so goes to the door. He returns for his chapeau, so leaves the room.
Quentin & # 8217 ; s memories:
Quentin & # 8217 ; s memories are non as clearly defined or as chronologically discernable as Benjy & # 8217 ; s. There are three of import memories that obsess him.
1. Benjy & # 8217 ; s name alteration, 1900: Dilsey claims that Benjy can & # 8220 ; smell what you tell him ; & # 8221 ; Roskus asks if he can smell bad fortune, certain that the lone ground they changed his name is to seek to assist his fortune.
2. Quentin kisses Natalie, undated: Natalie, a neighbour miss, and Quentin are in the barn and it is raining outside. Natalie is hurt ; Caddy pushed her down the ladder and ran off. Quentin asks her where it hurts and says that he bets he can raise her up. [ a skip in clip ] Natalie tells him that something [ likely snoging ] is & # 8220 ; like dancing sitting down & # 8221 ; ( 135 ) ; Quentin asks her how he should keep her to dance, puting his weaponries around her, and she moans. Quentin looks up to see Caddy in the door watching them. Quentin tells her that he and Natalie were merely dancing sitting down ; she ignores him. She and Natalie fight about the events that led to Natalie being pushed off the ladder and whose mistake it was ; Caddy claims that she was & # 8220 ; merely brushing the rubbish off the dorsum of your frock & # 8221 ; ( 136 ) . Natalie leaves and Quentin jumps into the clay of the sty, muddying himself up to his waist. Caddy ignores him and stands with her dorsum to him. He comes about in forepart of her and tells her that he was merely embracing Natalie. She turns her back and continues to disregard him, stating she doesn & # 8217 ; t give a darn what he was making. Shouting & # 8220 ; I & # 8217 ; ll do you give a darn, & # 8221 ; he smears clay on her frock as she slaps him. They tumble, contending, on the grass, so sit up and recognize how soiled they are. They head to the subdivision to rinse the clay off themselves.
3. Caddy kisses a male child ( 1906 ) : Quentin smacks Caddy and demands to cognize why she let the male child kiss her. With the ruddy print of his manus lifting on her cheek, she replies that she didn & # 8217 ; t allow him, she made him. Quentin tells her that it is non for snoging that he slapped her, but for snoging a & # 8220 ; darn town pip-squeak & # 8221 ; ( 134 ) . He rubs her face in the grass until she says & # 8220 ; calf rope. & # 8221 ; She shouts that at least she didn & # 8217 ; t snog a & # 8220 ; soiled miss like Natalie anyhow & # 8221 ; ( 134 ) .
4. Caddy has sex with Dalton Ames, 1909: Caddy stands in the room access, and person [ Quentin? ] asks her why she won & # 8217 ; t convey Dalton Ames into the house. Mother answers that she & # 8220 ; must make things for adult females & # 8217 ; s grounds & # 8221 ; ( 92 ) . Caddy will non look at Quentin. Benjy bellows and pulls at her frock and she shrinks against the wall, and he pushes her out of the room. Siting on the porch, Quentin hears her door slamming and Benjy still ululating. She runs out of the house and Quentin follows her ; he finds her prevarication in the subdivision. He threatens to state Father that he committed incest with her ; she replies with commiseration. He tells her that he is stronger than she is, he will do her Tell him. He adds that he fooled her ; all the clip she thought it was her fellows and it was Quentin alternatively. The odor of honeysuckle is all around them. She asks him if Benjy is still shouting. He asks her if she loves Dalton Ames ; she places his manus on her thorax and he feels her bosom whipping at that place. He asks her if he made her make it, stating & # 8220 ; Ill kill him I swear I will beget neednt know until subsequently and so you and I nobody need of all time know we can take my school money we can call off my matriculation Caddy you hate him dont you & # 8221 ; ( 151 ) . She moves his manus to her pharynx, where the blood is & # 8220 ; hammering, & # 8221 ; and says & # 8220 ; hapless Quentin & # 8221 ; ( 151 ) . A minute subsequently she says & # 8220 ; yes I hate him I would decease for him Ive already died for him I die for him over and over once more & # 8221 ; ( 151 ) . She looks at him and so says & # 8220 ; you & # 8217 ; ve ne’er done that have you, & # 8221 ; to which Quentin responds & # 8220 ; yes yes tonss of times with tonss of misss, & # 8221 ; but he is lying, and Caddy knows it ; he cries on her shirt and they lie together in the subdivision ( 151 ) . He holds a knife to her pharynx, stating her that he can kill her rapidly and painlessly and so kill himself. She agrees and he asks her to shut her eyes, but she doesn & # 8217 ; T, looking past his caput at the sky. He begins to shout ; he can non make it. She holds his caput to her chest and he drops the knife. She stands up and tells him that she has to travel, and Quentin hunts in the H2O for his knife. The two walk together past the ditch where Nancy & # 8217 ; s castanetss were, so she turns and tells him to halt [ she is headed to run into Dalton Ames ] . He replies that he is stronger than she is ; she tells him to travel back to the house. But he continues to follow her. Just past the fencing, Dalton Ames is waiting for her, and she introduces them and kisses Dalton. Quentin tells them that he is traveling to take a walk in the forests, and she asks him to wait for her at the subdivision, that she will be at that place shortly. He walks aimlessly, seeking to get away the odor of honeysuckle that chokes him, and lies on the bank of the subdivision. Soon Caddy appears and tells him to travel place. He shakes her ; she is limp in his custodies and does non look at him. They walk together to the house, and at the stairss he asks her once more if she loves Dalton Ames. She tells him that she doesn & # 8217 ; T know. She tells him that she is & # 8220 ; bad anyhow you cant assist it & # 8221 ; ( 158 ) .
5. Quentin battles with Dalton Ames, 1909: Quentin sees Dalton Ames go into a barbershop in town and delaies for him to come out. He tells him & # 8220 ; Ive been looking for you two or three yearss & # 8221 ; and Dalton answers that he can & # 8217 ; t speak to him at that place on the street ; the two arrange to run into at the span over the brook at one O & # 8217 ; clock ( 158 ) . Dalton is really polite to Quentin. Later, Caddy overhears Quentin stating T. P. to saddle his Equus caballus and asks him where he is traveling. He will non state her and calls her a prostitute. He tells T. P. that he won & # 8217 ; t necessitate his Equus caballus after all and walks to the span. Dalton is waiting for him at that place. Quentin tells him to go forth town. Dalton stares at him and inquire if Caddy sent him. Quentin tells him that he, and merely he, is inquiring Dalton to go forth town. Dalton dismisses this, merely wishing to cognize if Caddy is all right. Quentin continues to order him to go forth, and Dalton counters with & # 8220 ; what will you make if I dont leave & # 8221 ; ( 160 ) . In response Dalton easy and intentionally smokes a coffin nail, tilting on the span railing. He tells Quentin to halt taking it so hard, that if he hadn & # 8217 ; t acquire Caddy pregnant some other cat would hold. Shaking, Quentin asks him if he of all time had a sister, and he replies & # 8220 ; no but theyre all bitches & # 8221 ; ( 160 ) . Quentin hits him, but Dalton catches him by both carpuss and ranges under his coat for a gun, so turns him free. Droping a piece of bark into the brook, Dalton shoots at it and hands the gun to Quentin. Quentin clouts at him and he holds his carpuss once more, and Quentin passes out. He asks Quentin how he feels and if he can do it home all right. He tells him that he & # 8217 ; d better non walk and offers him his Equus caballus. Quentin brushes him off and finally he rides off. Quentin slumps against a tree. He hears hoofbeats and Caddy comes running. She thought that Dalton shot him. She holds his face with her custodies and Quentin grabs her carpuss. She begs him to allow her travel so she can run after Dalton, so all of a sudden stops fighting. Quentin asks her if she loves him. Again she places his manus on her pharynx, and tells him to state his name. Quentin says & # 8220 ; Dalton Ames, & # 8221 ; and each clip he does he can experience the blood billowing in her pharynx.
6. Quentin meets Herbert Head before Caddy & # 8217 ; s nuptials, 1910: Herbert finds Quentin entirely in the parlour and efforts to acquire to cognize him better. He is smoking a cigar and offers one to Quentin. Herbert tells him that Caddy talked so much about him when they met that he thought she was speaking about a hubby or boyfriend, non a brother. He asks Quentin about Harvard, reminiscing about his ain college yearss, and Quentin accuses him of rip offing [ he has heard rumours about Herbert ‘s cheating at cards ] . Herbert jokingly railleries back that Quentin is & # 8220 ; better than a drama you must hold made the Dramat & # 8221 ; ( 108 ) . He tells Quentin that he likes him and that he is glad they are traveling to be friends. He offers to give him a manus and acquire him started in concern, but Quentin rejects his offer and challenges him. They begin to contend but halt when Herbert sees that his cigar butt has about burned a topographic point into the mantle. He backs away and once more offers Quentin his friendly relationship and offers him some money, which Quentin culls. They are merely get downing to contend once more when Caddy enters and asks Herbert to go forth so she can speak to Quentin entirely. Entirely, she asks Quentin what he is making and warns him non to acquire involved in her life once more. He notices that she is hectic, and she tells him that she is ill. He asks her what she means and she tells him she is merely ill and begs him non to state anyone. Again he asks her what she means and tells her that if she is ill she shouldn & # 8217 ; T go through with the ceremonial. She replies that she can and must and that & # 8220 ; after that it & # 8217 ; ll be all right it wont affair & # 8221 ; and implore him to look after Benjy and do certain that they don & # 8217 ; t send him to an refuge ( 112 ) . Quentin promises.
7. Caddy & # 8217 ; s nuptials, 1910: Benjy is ululating outside, and Caddy runs out the door to him, & # 8220 ; right out of the mirror & # 8221 ; ( 77 ) .
8. Mother speaks, dateless: Mother tells Father that she wants to travel off and take merely Jason, because he is the lone kid who loves her, the lone kid who is genuinely a Bascomb, non a Compson. She says that the other three kids are her & # 8220 ; penalty for seting aside [ her ] pride and get marrieding a adult male who held himself above [ her ] & # 8221 ; ( 104 ) . These three are & # 8220 ; non [ her ] flesh and blood & # 8221 ; and she is really afraid of them, that they are the symbols of a expletive upon her and the household. She views Caddy non simply as damaging the household name with her promiscuousness but really & # 8220 ; perverting & # 8221 ; the other kids ( 104 ) .
9. Quentin & # 8217 ; s conversations with Father, dateless ( a twine of separate conversations on the same subject ) : Quentin tells his male parent that he committed incest with Caddy ; his male parent does non believe him. Father takes a practical, logical, if unemotional position of Caddy & # 8217 ; s gender, stating Quentin that adult females have & # 8220 ; a practical birthrate of intuition. . . [ and ] an affinity for immorality, & # 8221 ; that he should non take her promiscuousness to bosom because it was inevitable ( 96 ) . When Quentin tells him that he would wish to hold been born a eunuch so that he ne’er had to believe about sex, he responds & # 8220 ; it & # 8217 ; s because you are a virgin: dont you see? Womans are ne’er virgins. Purity is a negative province and hence contrary to nature. It & # 8217 ; s nature is aching you non Caddy. & # 8221 ; Quentin replies & # 8220 ; that & # 8217 ; s merely words & # 8221 ; and male parent counters & # 8220 ; so is virginity & # 8221 ; ( 116 ) . Quentin insists that he has committed incest with Caddy and that he wants to decease, but still Father won & # 8217 ; t believe him. Father tells him that he is simply & # 8220 ; blind to what is in yourself to that portion of general truth the sequence of natural events and their causes which shadows every adult males brow even benjys. . . you can non bear to believe that someday it will no longer ache you like this & # 8221 ; ( 177 ) . He claims that non even Caddy was truly & # 8220 ; rather deserving desperation, & # 8221 ; that Quentin will turn out of the hurting he feels at her treachery of his ideal ( 178 ) .
Analysis of June Second, 1910:
From the really first sentence of the subdivision, Quentin is obsessed with clip ; words associated with clip like & # 8220 ; ticker, & # 8221 ; & # 8220 ; clock, & # 8221 ; & # 8220 ; bell, & # 8221 ; and & # 8220 ; hr & # 8221 ; occur on about every page. When Quentin wakes he is & # 8220 ; in clip once more, hearing the ticker, & # 8221 ; and the remainder of the twenty-four hours represents an effort to get away clip, to acquire & # 8220 ; out of clip & # 8221 ; ( 76 ) . His first action when he wakes is to interrupt the custodies off his ticker in an effort to halt clip, to get away the & # 8220 ; reducto absurdum of all human experience & # 8221 ; which is the gradual patterned advance toward decease ( 76 ) . Perversely taking literally his male parent & # 8217 ; s statement that & # 8220 ; clip is dead every bit long as it is being clicked off by small wheels ; merely when the clock Michigan does clip come to life, & # 8221 ; he tears the custodies off his ticker, merely to happen that it continues to click even without the custodies ( 85 ) . Throughout this subdivision, Quentin tries to get away clip in similar ways ; he tries to avoid looking at redstem storksbills, he tries to go off from the sound of school bells or mill whistlings. By the terminal of the subdivision he has succeeded in get awaying cognition of the clip ( when he returns to school he hears the bell tintinnabulation and has no thought what hr it is chiming off ) , but he still has non taken himself out of clip. In the terminal, as he knows throughout this subdivision, the lone manner to get away clip is to decease.
Jean-Paul Sartre, in his analysis of this novel, sees Quentin & # 8217 ; s self-destruction as non simply a manner of get awaying clip but of exploding clip. His self-destruction is present in all the actions of the twenty-four hours, non so much a destiny he could woolgather of get awaying as & # 8220 ; an immobile wall, a thing which he approaches rearward, and which he neither wants to nor can gestate & # 8221 ; ( Sartre, 91 ) . It is non a hereafter but a portion of the present, the point from which the narrative is told. Quentin narrates the twenty-four hours & # 8217 ; s events in the past tense, as if they have already happened ; the & # 8220 ; present & # 8221 ; from which he looks back at the twenty-four hours & # 8217 ; s events must be the minute of his decease. As Sartre puts it:
Since the hero & # 8217 ; s last ideas coincide about with the bursting of his memory and its obliteration, who is retrieving? . . . . [ Faulkner ] has chosen the minute blink of an eye of decease. Therefore when Quentin & # 8217 ; s memory begins to unknot its remembrances ( & # 8221 ; Through the wall I heard Shreve & # 8217 ; s bed-springs and so his slippers on the floor hishing. I got up. . . & # 8220 ; ) he is already dead ( 92 ) .
In other words, clip explodes at the blink of an eye of Quentin & # 8217 ; s self-destruction, and the events of this & # 8220 ; minute blink of an eye & # 8221 ; are recorded in this subdivision. By killing himself, Quentin has found the lone manner to entree clip that is & # 8220 ; alive & # 8221 ; in the sense that his male parent inside informations, clip that has escaped the clicking of small wheels.
But why does Quentin desire to get away clip? The reply lies in one of the conversations with his male parent that are recorded in this subdivision. When Quentin claims that he committed incest with Caddy, his male parent refuses to believe him and says:
You can non bear to believe that someday it will no longer ache you like this. . . it is difficult believing to believe that a love or a sorrow is a bond purchased without design and which matures willynilly and is recalled without warning. . . no you will non make that until you come to believe that even she was non rather deserving desperation possibly ( 177-178 ) .
Quentin & # 8217 ; s response to this statement is & # 8220 ; I will ne’er make that cipher knows what I know. & # 8221 ; His effort to halt the patterned advance of clip is an effort to continue the rawness of the hurting Caddy & # 8217 ; s promiscuousness and matrimony have caused him ; he ne’er wants to believe of her as & # 8220 ; non rather deserving despair. & # 8221 ;
Like Benjy, Quentin is obsessed with an absent Caddy, and both brothers & # 8217 ; subdivisions are ordered around memories of her, specifically of her promiscuousness. For both brothers, her absence is linked to her promiscuousness, but for Quentin her promiscuousness signals non simply her loss from his life but besides the loss of the romantically idealised thought of life he has built for himself. This ideal life has at its centre a rating of pureness and cleanness and a rejection of gender ; Quentin sees his ain developing gender every bit good as his sister & # 8217 ; s as iniquitous. The loss of her virginity is the painful centre of a spiral of loss as his semblances are shattered. Critics have read Quentin & # 8217 ; s compulsion with Caddy & # 8217 ; s virginity as an antebellum-style preoccupation with household award, but in fact household award is barely of all time mentioned in this subdivision. The hurting that Caddy & # 8217 ; s promiscuousness causes Quentin seems excessively natural, excessively intense, excessively splanchnic to be simply a letdown at the staining household award. And possibly most significantly, Quentin & # 8217 ; s response to her promiscuousness, viz. stating his male parent that he and she committed incest, is non the act of a individual concerned with household award. Rather it is the act of a male child so in love with his sister and so haunted with keeping the intimacy of their relationship that he would instead be condemned by the town and suffer in snake pit than allow her travel. He is, in fact, obsessed with her pureness and virginity, but non to keep visual aspects in the town ; he wants her forever to stay the unstained, saintly mother/sister he imagines her to be.
Quentin did non, of class, commit incest with Caddy. And yet the brushs he remembers are fraught with sexual overtones. When Caddy walks in on Quentin and Natalie caressing in the barn, for case, Quentin throws himself into the & # 8220 ; stinking & # 8221 ; clay of the sty. When this fails to acquire a response from Caddy, he wipes clay on her:
You dont you dont I & # 8217 ; ll do you I & # 8217 ; ll do you give a darn. She hit my custodies off I smeared clay on her with the other manus I couldnt experience the wet slap of her manus I wiped clay from my legs smeared it on her wet difficult turning organic structure hearing her fingers traveling into my face but I couldnt experience it even when the rain began to savor Sweet on my lips ( 137 ) .
Repeating the mud-stained shortss that symbolize her ulterior gender, Quentin smears clay on Caddy & # 8217 ; s organic structure in a het exchange, experiencing as he does so her & # 8220 ; wet difficult turning body. & # 8221 ; The clay is both Quentin & # 8217 ; s repentance for his sexual experimentation with Natalie and the mark of gender between Quentin and Caddy.
The scene in the subdivision of the river is likewise sexual in nature. Quentin finds Caddy at the subdivision seeking to rinse away the guilt she finds ; amid the & # 8220 ; suck [ ing ] and gurgl [ ing ] & # 8221 ; moving ridges of the H2O. When he asks her if she loves Dalton Ames, she places his manus on her thorax and he feels her bosom & # 8220 ; thumping & # 8221 ; ( 150 ) . He smells honeysuckle & # 8220 ; on her face and pharynx like pigment her blood pounded against my manus I was tilting on my other arm it began to yank and leap and I had to puff to acquire any air at all out of that thick grey honeysuckle ; & # 8221 ; and he lies & # 8220 ; shouting against her moistness blouse & # 8221 ; ( 150 ) . Taking out a knife, he holds it against her pharynx and tells her & # 8220 ; it wont take but a 2nd Ill attempt non to hurt. & # 8221 ; She replies & # 8220 ; no like this you have to force it harder, & # 8221 ; and he says & # 8220 ; touch your manus to it & # 8221 ; ( 151 ) . In this scene we have the insistent billowing both of the H2O and of Caddy & # 8217 ; s blood beneath Quentin & # 8217 ; s manus. We hav