Difference between revisions of "Reconstruction:As I Lay Dying"
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In a one-line Vardaman chapter, the {{meta|transformation}} is | In a one-line Vardaman chapter, the {{meta|transformation}} is completed. | ||
{{quote|My mother is a fish. | {{quote|My mother is a fish. | ||
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While the family moves the coffin to town, Cash | While the family moves the coffin to town, Cash mentions its {{meta|balance|def}} (which is quite ironic considering his background story includes him falling from a roof and breaking a leg): | ||
{{quote|“It won’t '''balance'''. If you want it to tote and ride on a '''balance''', we will have—” | {{quote|“It won’t '''balance'''. If you want it to tote and ride on a '''balance''', we will have—” | ||
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Addie Bundren has a monologue in her own chapter where she points out | Addie Bundren has a monologue in her own chapter where she points out {{meta|arbitrary|def}} words and names: | ||
{{quote|Anse. Why Anse. Why are you Anse. I would think about his name until after a while I could see the word as a shape, a vessel, and I would watch him liquefy and flow into it like cold molasses flowing out of the darkness into the vessel, until the jar stood full and motionless: a significant shape profoundly without life like an empty door frame; and then I would find that I had forgotten the name of the jar. I would think: The shape of my body where I used to be a virgin is in the shape of a <span style="white-space:pre;"> </span> and I couldn’t think ''Anse'', couldn’t remember ''Anse''. It was not that I could think of myself as no longer unvirgin, because I was three now. And when I would think ''Cash'' and ''Darl'' that way until their names would die and solidify into a shape and then fade away, I would say, All right. It doesn’t matter. '''It doesn’t matter what they call them.''' […] hearing the dark voicelessness in which the words are the deeds, and the other words that are not deeds, that are just gaps in people’s lacks, coming down like the cries of the geese out of the wild darkness in the old terrible nights, fumbling at the deeds like orphans to whom are pointed out in a crowd two faces and told, '''That is your father, your mother'''. | {{quote|1=Anse. Why Anse. Why are you Anse. I would think about his name until after a while I could see the word as a shape, a vessel, and I would watch him liquefy and flow into it like cold molasses flowing out of the darkness into the vessel, until the jar stood full and motionless: a significant shape profoundly without life like an empty door frame; and then I would find that I had forgotten the name of the jar. I would think: The shape of my body where I used to be a virgin is in the shape of a <span style="white-space:pre;"> </span> and I couldn’t think ''Anse'', couldn’t remember ''Anse''. It was not that I could think of myself as no longer unvirgin, because I was three now. And when I would think ''Cash'' and ''Darl'' that way until their names would die and solidify into a shape and then fade away, I would say, All right. It doesn’t matter. '''It doesn’t matter what they call them.''' […] hearing the dark voicelessness in which the words are the deeds, and the other words that are not deeds, that are just gaps in people’s lacks, coming down like the cries of the geese out of the wild darkness in the old terrible nights, fumbling at the deeds like orphans to whom are pointed out in a crowd two faces and told, '''That is your father, your mother'''. | ||
| | |2= | ||
|William Faulkner | |3=William Faulkner | ||
|''As I Lay Dying'' | |4=''As I Lay Dying'' | ||
}} | }} | ||
Vardaman reiterates his {{meta|familial {{meta|enumeration}}|ref=familial}} while the family gets nearer to town. In particular, he uses the {{meta|phrasal {{meta|repetition}}|def}} “X is my brother:” | Vardaman reiterates his {{meta|familial {{meta|enumeration}}|ref=familial}} while the family gets nearer to town. In particular, he uses the {{meta|phrasal {{meta|repetition}}|def=phrasal}} “X is my brother:” | ||
{{quote|'''Darl and Jewel and Dewey Dell and I''' are walking up the hill behind the wagon. Jewel came back. He came up the road and got into the wagon. He was walking. Jewel hasn’t got a horse any more. '''Jewel is my brother'''. '''Cash is my brother'''. Cash has a broken leg. We fixed Cash’s leg so it doesn’t hurt. '''Cash is my brother'''. '''Jewel is my brother''' too, but he hasn’t got a broken leg. | {{quote|'''Darl and Jewel and Dewey Dell and I''' are walking up the hill behind the wagon. Jewel came back. He came up the road and got into the wagon. He was walking. Jewel hasn’t got a horse any more. '''Jewel is my brother'''. '''Cash is my brother'''. Cash has a broken leg. We fixed Cash’s leg so it doesn’t hurt. '''Cash is my brother'''. '''Jewel is my brother''' too, but he hasn’t got a broken leg. | ||
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}} | }} | ||
Vardaman expresses a {{meta|phrasal {{meta|repetition}}|ref=phrasal}} involving Darl after the latter was arrested: | |||
{{quote|''He had to get on the train to go to Jackson. I have not been on the train, but Darl has been on the train. Darl. Darl is my brother. '''Darl, Darl''''' | {{quote|''He had to get on the train to go to Jackson. I have not been on the train, but Darl has been on the train. Darl. Darl is my brother. '''Darl, Darl''''' | ||
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}} | }} | ||
The latter quote directly transitions into a Darl chapter where Darl {{meta|repeats|ref=repetition}} not only his own name, but also the {{meta|phrasal {{meta|repetition}}|ref=phrasal}}, | The latter quote directly transitions into a Darl chapter where Darl {{meta|repeats|ref=repetition}} not only his own name, but also the {{meta|phrasal {{meta|repetition}}|ref=phrasal}}, achieving a {{meta|{{meta|relativized}} {{meta|repetition}}|def=relativized}}: | ||
{{quote|'''Darl''' has gone to Jackson. They put '''him''' on the train, laughing, down the long car | {{quote|'''Darl''' has gone to Jackson. They put '''him''' on the train, laughing, down the long car laughing, the heads turning like the heads of owls when he passed. […] | ||
'''Darl is our brother, our brother Darl. Our brother Darl''' in a cage in Jackson where, his grimed hands lying light in the quiet interstices, looking out he foams. | '''Darl is our brother, our brother Darl. Our brother Darl''' in a cage in Jackson where, his grimed hands lying light in the quiet interstices, looking out he foams. | ||
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}} | }} | ||
At the end of the last chapter, Cash expresses a {{meta|{{meta|relativized}} repetition|ref=relativized}} | At the end of the last chapter, Cash expresses a {{meta|{{meta|relativized}} {{meta|repetition}}|ref=relativized}} when he says “this world is not '''his''' world; this life '''his''' life:” | ||
{{quote|Then we see it wasn’t the grip that made him look different; it was his face, and Jewel says, “He got them teeth.” | {{quote|Then we see it wasn’t the grip that made him look different; it was his face, and Jewel says, “He got them teeth.” | ||
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}} | }} | ||
This {{meta|{{meta|relativized}} repetition|ref=relativized}} contrasts with the final line that follows, where a {{meta|familial {{meta|enumeration}}|ref=familial}} | This {{meta|{{meta|relativized}} {{meta|repetition}}|ref=relativized}} contrasts with the final line that follows, where a {{meta|familial {{meta|enumeration}}|ref=familial}} implies an {{meta|arbitrary}} {{meta|transformation}} (from the deceased to the “duck-shaped woman”) despite “Mrs Bundren” {{meta|repeating|ref=repetition}} Addie Bundren’s name: | ||
{{quote|“It’s '''Cash and Jewel and Vardaman and Dewey Dell''',” pa says, kind of hangdog and proud too, with his teeth and all, even if he wouldn’t look at us. “Meet '''Mrs Bundren''',” he says. | {{quote|“It’s '''Cash and Jewel and Vardaman and Dewey Dell''',” pa says, kind of hangdog and proud too, with his teeth and all, even if he wouldn’t look at us. “Meet '''Mrs Bundren''',” he says. |
Revision as of 14:07, 5 December 2021
As I Lay Dying opens with Darl as the point-of-view character. Early on, it is established that Darl can <{{#replace:distance|}}||nested=yes}}}}> himself from even himself.
The end of his chapter is marked by a <{{#replace:rythmic|}}||nested=yes}}}}> <{{#replace:repetition|}}||nested=yes}}}}> of the noise the adze makes:
His brother Vardaman also shows in his chapters a <{{#replace:rythmic|}}||nested=yes}}}}> type of <{{#replace:enumeration|}}||nested=yes}}}}> :
“Cooked and et. Cooked and et.”
❞His chapters show a recurring <{{#replace:familial <{{#replace:enumeration|}}||nested=yes}}}}>|}}||nested=yes}}}}> that is introduced along a <{{#replace:transformation|}}||nested=yes}}}}> of the mother Addie Bundren:
Darl confirms his <{{#replace:distancing|}}||nested=yes}}}}> ability:
How often have I lain beneath rain on a strange roof, thinking of home.
❞In a one-line Vardaman chapter, the <{{#replace:transformation|}}||nested=yes}}}}> is completed.
While the family moves the coffin to town, Cash mentions its <{{#replace:balance|}}||nested=yes}}}}> (which is quite ironic considering his background story includes him falling from a roof and breaking a leg):
Addie Bundren has a monologue in her own chapter where she points out <{{#replace:arbitrary|}}||nested=yes}}}}> words and names:
Vardaman reiterates his <span id="familial <{{#replace:enumeration|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:familial <{{#replace:enumeration|}}||nested=yes}}}}>|}}||nested=yes}}}}> while the family gets nearer to town. In particular, he uses the <{{#replace:phrasal <{{#replace:repetition|}}||nested=yes}}}}>|}}||nested=yes}}}}> “X is my brother:”
On their way, Vardaman spots something (presumably Darl trying to burn the coffin), and identifies him through <span id="familial <{{#replace:enumeration|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:familial <{{#replace:enumeration|}}||nested=yes}}}}>|}}||nested=yes}}}}>:
Cash later tries to <{{#replace:balance|}}||nested=yes}}}}> what is right and what is wrong:
The <{{#replace:balancing|}}||nested=yes}}}}> <{{#replace:relativizes|}}||nested=yes}}}}> Darl’s doings through his <{{#replace:distancing|}}||nested=yes}}}}>:
But I ain’t so sho that ere a man has the right to say what is crazy and what ain’t. It’s like there was a fellow in every man that’s done a-past the sanity or the insanity, that watches the sane and the insane doings of that man with the same horror and the same astonishment.
❞Vardaman expresses a <span id="phrasal <{{#replace:repetition|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:phrasal <{{#replace:repetition|}}||nested=yes}}}}>|}}||nested=yes}}}}> involving Darl after the latter was arrested:
The latter quote directly transitions into a Darl chapter where Darl <{{#replace:repeats|}}||nested=yes}}}}> not only his own name, but also the <span id="phrasal <{{#replace:repetition|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:phrasal <{{#replace:repetition|}}||nested=yes}}}}>|}}||nested=yes}}}}>, achieving a <{{#replace:<{{#replace:relativized|}}||nested=yes}}}}> <{{#replace:repetition|}}||nested=yes}}}}>|}}||nested=yes}}}}> :
Darl is our brother, our brother Darl. Our brother Darl in a cage in Jackson where, his grimed hands lying light in the quiet interstices, looking out he foams.
“Yes yes yes yes yes yes yes yes”
❞At the end of the last chapter, Cash expresses a <span id="<{{#replace:relativized|}}||nested=yes}}}}> <{{#replace:repetition|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:<{{#replace:relativized|}}||nested=yes}}}}> <{{#replace:repetition|}}||nested=yes}}}}>|}}||nested=yes}}}}> when he says “this world is not his world; this life his life:”
It was a fact. It made him look a foot taller, kind of holding his head up, hangdog and proud too, and then we see her behind him, carrying the other grip—a kind of duck-shaped woman all dressed up, with them kind of hard-looking pop eyes like she was daring ere a man to say nothing. And then I see that the grip she was carrying was one of them little graphophones. It was for a fact, all shut up as pretty as a picture, and every time a new record would come from the mail order and us setting in the house in the winter, listening to it, I would think what a shame Darl couldn’t be to enjoy it too. But it is better so for him. This world is not his world; this life his life.
❞This <span id="<{{#replace:relativized|}}||nested=yes}}}}> <{{#replace:repetition|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:<{{#replace:relativized|}}||nested=yes}}}}> <{{#replace:repetition|}}||nested=yes}}}}>|}}||nested=yes}}}}> contrasts with the final line that follows, where a <span id="familial <{{#replace:enumeration|}}||nested=yes}}}}>" style="font-style:italic; color: #505050"><{{#replace:familial <{{#replace:enumeration|}}||nested=yes}}}}>|}}||nested=yes}}}}> implies an <{{#replace:arbitrary|}}||nested=yes}}}}> <{{#replace:transformation|}}||nested=yes}}}}> (from the deceased to the “duck-shaped woman”) despite “Mrs Bundren” <{{#replace:repeating|}}||nested=yes}}}}> Addie Bundren’s name: