Search Results for absalom

...John E. Bassett Copyright © 1985 by Duke University Press 1985 A BSA LOM, A BSALOM! THE LIMITS OF NARRATIVE FORM By JOHN E. BASSETT Critical commentary on Absalom, Absalom! (1936) falls into two major categories, one focusing...

... and self. Wadlington focuses on Faulkner’s four major early novels-The Sound and the Fury, As I Lay Dying, Light in August, and Absalom, Absalom!-although the first two, along with Sanctuary, make up what he calls Faulkner’s “mortu- ary trilogy.” The Sound and the Fury provides a vehicle...

... subject. Still, it often proves reward- ing. However indebted to previous criticism, the opening discussions of The Sound and the Fury and As I Lay Dying achieve insights of their own, and so do the substantial central chapters on Light in August and Absalom, Absalom!, which the author regards...

... literary critics who have written on Faulkner” are not likely to enjoy being compared to Shreve, the “sounding board and mouthpiece” which Faulkner created in Absalom, Absalom! to acknowledge the “modern, ‘liberal,’ twentieth-century reader, who is basi- cally rational, skeptical, without...

... the guilt of the planter class” (p. 115); in Absalom, Absalom! he “seemed ready to come to grips with the relationship between moral and genetic degeneracy” (p. 106), but he ultimately betrayed his own instincts by making his “plantation patriarch” a “redneck am’uiste” (p. 117). Intruder in the Dust...

... two-volume study of Faulkner-is easy to dislike. “Certain literary critics who have written on Faulkner” are not likely to enjoy being compared to Shreve, the “sounding board and mouthpiece” which Faulkner created in Absalom, Absalom! to acknowledge the “modern, ‘liberal,’ twentieth...

...).Polemical but not reductive, Weinstein subtly interrogates four novels, The Sound and the Fury, Light in August, Absalom, Absalom! and Go Down, Moses, as well as his own identity as reader, in four chapters devoted to gender, race, subjectivity, and cultural theory. Weinstein considers how...

..., Light in August, Absalom, Absalom! and Go Down, Moses, as well as his own identity as reader, in four chapters devoted to gender, race, subjectivity, and cultural theory. Weinstein considers how Faulkner figures female and black characters, “not in the moral sense of how they are evaluated...

...; Aureng-Zebe, suffused with “the new ideal of service” (p. 192), is a “psychomachia” (p. 201) which defines the character appropriate to a loyal successor; Absalom and Achitophel is written partly to show “how ridiculous the political situation was” (p. 232), and partly to show Charles how...

... arises, however, in connection with the content of the passage. In- stead of appealing to intellect and “wit” as Dryden’s descriptions generally do, this passage is wholly sensuous. The contrast may be clarified by the following quotation from Dryden’s Absalom and Achitophel, describing...

... and conceptual contours. One especially interesting chapter, for example, juxtaposes William Faulkner’s Absalom, Absalom! with Margaret Mitchell’s Gone with the Wind , both published in 1936, so as to consider the complicated relationship between “parody and aspiration” (43) in these self-consciously national...

... and thoughtful book. In its determination to work out “the riddle of Faulkner’s southernness” (p. x), in fact, it recalls nothing so much as Absalom, Absalom! Faulkner emerges as a sort of Sutpen driven by a grandiose, almost noble desire to construct a kingdom which is destined to collapse in ruins...

... of Congressional pressure. Stress the importance of silica rock-use Robinson’s testimony for silica dust sto- ries” (6 April 1936/37, Rukeyser Papers). With Mrs. Jones, the voice in “Absalom,”another of the poems, these men are the most important speakers in the sequence. Their poems lay out the facts...

... (or interior monologue) and multiple point of view. The latter part of Moby-Dick becomes similar in tech- nical intent to what William .Faulkner achieved in The Sound and the Fury and Absalom, Absalom. J. 1. Boies 175 It becomes obvious...

... Mirabilis.. .” (p. 30). Our distrust increases when we hear that “All these poems [Absalom and Achitophel, Religio Laici, The Medal], however public they are, possess an intense personal drive to discover what is meaningful to John Dryden” (p. 143). We are also told that the plays...

...” does not help: “Dryden’s dis- covery of the personality of public poetry in Annus Mirabilis.. .” (p. 30). Our distrust increases when we hear that “All these poems [Absalom and Achitophel, Religio Laici, The Medal], however public they are, possess an intense personal drive to discover what...

... dandyish; one illumination shows the boy’s hair “strutted like a fan” in the tree. 15Cf. I1 Reg. XV; the picture of Absalom as a rather demagogic crowd pleaser takes on more serious overtones in Dryden’s “Absalom and Achitophel.” 16Cf. R. E. Kaske, “Patristic Exegesis in the Criticism...

... reconstruction must be largely hypothet- ical, I still feel that we learn a great deal by inquiring what “job” (in Swift’s phrase) is being undertaken. Absalom and Achitophel (for example) is less specifically political in purpose than is often assumed, as Phillip Harth has ROBERT D. HUME...

... struggle or the constant threat of being forgotten by the world. Though Poet Laureate and fresh from his multiple triumphs of 1681-82 (Absalom and Achito- phel, MacFlecknoe, The Medal, Religio Laici), Dryden had to toil, as his latest biographer makes clear, to support himself and his family...

...: The 1930s GH: An “alternative way of reading the fiction of the decade” tests the fate of best sellers like The Good Earth, Anthony Adverse, Lost Horizon, Good-bye, Mr. Chips, and All This, and Heaven Too. So why were Their Eyes Were Watching God, The Grapes of Wrath, and Absalom, Absalom! given...