By Cleanth Brooks
This booklet is the spouse quantity to William Faulkner: The Yoknapatawpha kingdom through Cleanth Brooks, which appears to be like into Faulkner's early poetry, prior interpretations, and prose in addition to his 5 non-Yoknapatawpha novels- squaddies' Pay, Mosquitoes, Pylon, the Wild hands, and A delusion.
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Additional info for William Faulkner: Toward Yoknapatawpha and Beyond
Much of the early Faulkner prose that has been preserved consists of book reviews or essays in criticism. These have their own importance, and have been or will be discussed where the topic has special pertinence to Faulkner's own literary development. But we are here concerned with the rest of Faulkner's early prose, which is of a very different order. It is not workaday discursive prose at all, but the product of his poetic impulse, and in style tends to be poetic—in the derogatory as well as the neutral sense in which we apply the term.
In that novel, as we shall see, the influence of both Housman and Eliot is strong. Though it would be hard to demonstrate that these two poets helped Faulkner solve any of his own problems as a poet, their attitudes toward reality and their insights into the human predicament did influence him a great deal, nowhere more so than in his fiction. He continues to demonstrate his indebtedness to them, in one way or another, until at least as late as Pylon (1935). Perhaps Housman and Eliot could not help him find himself as a poet just because he was too close to them.
I confess that I find it less crabbed and awkward than much of the verse in The Marble Faun. Curiously enough, it is far less florid and "poetic" than the prose in which the author describes the scenes, presents the stage directions, and has such characters as the "Grey Figure," the "Lilac Figure," the "Spirit of Autumn," and the character of Marietta herself speak. Essentially, the play is a static mood piece with very little action. Insofar as it has a plot, it concerns the seduction of Marietta by Pierrot.