Tomorrow, and tomorrow, and tomorrow
Creeps in this petty pace from day to day
To the last syllable of preserve time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, plan candle.
Lifes but a walking buns, a poor player
That struts and frets his min upon the stage,
And then is heard no more. It is a tale
Told by an idiot, amply of sound and fury,
Signifying nonhing.
(Macbeth: V.v.18-27)
These Shakespe arean verses lend William Faulkner the title of this novel, and speak of the school of thought behind it. In this soliloquy, Macbeth implies that the life is only a shadow of the past. He idealizes the greatness of the past, and expresses his inability as a recent man to achieve that greatness. Faulkner reinterprets this idea, comment Phillips & Johnson, implying that if man does not choose to take his own life, as Quentin does, the only alternatives are to become either a cynic and materialist like Jason, or an idiot like Benjy, unable to see life as anything more than a meaningless series of images, sounds, and memories.1
The three Compson brothers say their perspectives through their streams of consciousness in the archetypal three sections of the novel. The quartern section is the perspective of the narrator.
Before we attempt to compare the first two sections of the novels i.e. the perspectives of Benjy and Quentin, we must not forget the conclusion of Donald Kartiganer, as he analyses the form of the novel. None of the four tales speak to another, apiece imagined order cancels out the one that precedes it. Truth is the meaningless add up of four items, that seem to have no business beingness added: Benjy plus Quentin plus Jason plus the narrator. You bring them together, he quotes Faulkner,
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