Luster fed him with skill and detachment. It was as if even eagerness were muscle-bound in him too, and hunger itself inarticulate, not knowing it is hunger. He watched the spoon as it rose to his mouth. It seems that he has also used consonances skillfully to make his prose melodious, as shown below.īen ceased whimpering. This passage from Sound and Fury, his novel, shows it amply that he has used /s/, /w/ and /n/ sounds at different intervals along with the length of sentences. Different syllables and different sounds come together to create cadence. Not only does he create rhythm with the placement of words and sentences but also with sounds. William Faulkner’s Rhythm and Component Soundsįaulkner is a master of rhythm. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough as they moved from one face to another while the visitors stated their errand. She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her skeleton was small and spare perhaps that was why what would have been merely plumpness in another was obesity in her. They rose when she entered-a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. This passage from her short story “A Rose for Emily” also shows it amply. His novel, Sound and Fury, has a title from Shakespeare’s Macbeth, which is a good example of using an allusion. Similarly, he uses similes, personifications and allusions sparingly in his stories. He is considered using unusual metaphors such as given in the above passage, “The gate was cold” shows how he uses ordinary things to compare happenings. William Faulkner’s Figurative Languageĭespite using best conversation and dialogues, Faulkner is the master of using metaphors. Whyn’t you wait for them in the house.” He put my hands into my pockets. “You get them froze onto that gate, then what you do. “You better keep them hands in your pockets.” Versh said. “You dont think you going to town, does you.” We went through the rattling leaves. The passage shows that first sentence is very long, second a bit short and the third one is the shortest. This passage shows the rhythm he creates through sentences having different construction and different lengths as given in the last. Yet, sometimes he resorts to writing highly short and rhythmic sentences, as shown in this passage from the novel Sound and Fury. Although the structure is quite usual and common, sometimes he resorts to unusually long sentences which create their own cadence and rhythm. His experimentation is rather with the meticulous utterances as he shows it through a stream of consciousness technique in his novel, Sound and Fury. William Faulkner is well known for his syntax. When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old manservant-a combined gardener and cook-had seen in at least ten years. His short story “A Rose for Emily” also shows the use of careful diction or wording as given in this passage. His novel, Sound and Fury, shows this skill of Faulkner at work. That is why he uses words very carefully, embedding full ambiguities in them. They know about words more than men know or ever will be able to know. That is why he states that if you want to seduce women with words, you can never win. William Faulkner is gifted with the quality of knowing things more than any other writer of his time.
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