By Albert Einstein, Leopold Infeld
In undemanding prose the authors inform of man's conquest of his personal lack of knowledge
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Example text
Compson changes his name from Maury (after her brother) to Benjamin, Joseph’s brother in the biblical book of Genesis. Quentin In his hyperarticulate way, Quentin is also obsessed with the loss of Caddy and her lost innocence and, even more, with death. Although Benjy’s section is disorienting, there is a logic to it that is ultimately less obscure than Quentin’s tortured and highly allusive stream of consciousness. As in Benjy’s section, though, there is a specific time and place in which Quentin’s monologue occurs and there are some clearly distinguishable flashbacks, some of which retell episodes from Benjy’s section from Quentin’s perspective.
Although he tells Caddy he has “done that” (151), he is almost certainly sexually inexperienced. He wants to stop time and preserve a static, unchanging state of innocence with Caddy. Realizing the futility of that wish, he embraces death as the ultimate stasis. Quentin’s language is rich with images of time. At the beginning of his last day, he breaks the hands off his pocket watch and avoids clocks; he is highly aware of the position of his shadow as a symbol of time passing. According to Edmond L.
Bayard idealizes his father, Colonel John Sartoris (closely modeled on Faulkner’s great-grandfather and namesake, William Clark Falkner). Col. Sartoris embodies for his son the heroic view of war. He commands a unit of partisan cavalry that conducts daring raids on the occupying Union army in northern Mississippi. His actions, however, set in motion a cycle of violence over the course of the novel that Bayard must confront and ultimately transcend. Sartoris, though written a decade before The Unvanquished, is set almost fifty years later in 1919 and thus is a sort of sequel to the later-written novel.