Post-classical Narratological Approach To The Sound And The Fury

As to the narrative analysis of The Sound and the Fury, the domestic researches in the past mainly focus on the use of classical narratology, post-structuralist narratology and deconstructive narratology. Few touch upon the interpretation of the post-classical narratology of which the paper makes good advantage of the theory. With the help of the classical narratological models and concepts, post-classical narratologists approve of the stability of the narrative structure and the importance of the narrative convention in the interpretation of the specific text. When we study the specific text, the focus is fixed on how the structure of the text interacts with the conventional reader's response. Post-classical narratologists revise one concept of classical narratology: unreliable homodiegetic narration. Whether he or she is a character or a narrator, the function of the character and the function of the narrator are impossible to be consistent. Therefore, we cannot confirm that the narrator is reliable only through the role of the character. Sometimes we have to consider the ethical position of the narrator. In the course of reading, an. individual reader unavoidably takes a specific stand to read, namely,"ethical positioning", participating in the interpretation and construction of the text. When it comes to the narrative ethics, we are trying to understand the ethical state of the implied author, the narrator, the character and the reader during the process of narrative. The reader is treated equally and understands the text as s/he understands the individual life. The narrative ethics is born of the process of reading and relies on the narrative. It is not a fictional pattern but an individual construction with a property of multi-dimensions and a quality of dialogue. The paper combines the narrative form and the narrative skills with the responses of the implied reader and the flesh-and-blood reader, and explores the inner mind of the implied author who guides our interpretation. We come to understand how his guide and our own freedom of judgment influence our view of the character of Caddy from the point of view of narrative ethics. We question her total depravity so as to construct her real character. The reader of The Sound and the Fury participates in the construction of the text as well as the interpretation of the text. Classical narratology could not depend on its interpretation of reliability to reveal the real character of Caddy. Caddy does not have her own persona. She lives in the narration of the three first-person homodiegetic narrators. The complexities of her identity are foreshortened. The reader cannot see her portrait clearly even when the whole narrative ends. The implied author presents three first-person homodiegetic narrators and the fourth third-person restricted omniscient narrator, gradually narrating the same story. Four narrators attempt to strengthen the power of narrative, but from the opposite point of view, the narrative form discloses the weakness of the narration. As a character, Benjy's existence proves that Caddy represents the most loving virtue of human nature. Benjy should also be regarded as the first narrator of the text, rather than an"idiot"whom most critics hold him to be as they respect the implication of the author. His narrative is endowed with a power of inducement, just like those of Quentin and Jason. Benjy implies Caddy's loss of virginity, Quentin is ensured of Caddy's promiscuity and Jason curses Caddy's total depravity. If the reader caters to the inducement of the narrators, Caddy is bound to be on the road to her doom and becomes a character of licentiousness and depravity. The text induces the reader so much that the reader cannot accept the choice. The narrative ethics requires that the reader should be fair-minded and impartial. We should turn down the inducement, reread the text and explore the ethical position of the narrators and the reader.In experiencing the narrative, we are required to involve ourselves into the relationships among the implied author, the narrators and Caddy. In the story of Caddy, our ethical position is definite: we show our sympathy for Caddy. She is driven out of her home(both her husband's home and her birth home) for she takes wrong steps in her girlhood. People are prejudiced against her and even inhibit her from defending herself. Her tragedy exposes the patriarchal society of Southern America. In the story of the first three narrators, our ethical position is gradually changing: the delicate hints of Benjy's narration give us the hint that the"idiot"is not fully an idiot. Quentin's hopelessness and suppression of his inner love reflect the unreliability of his narration of Caddy. Jason's absence from many events, together with his resentment and his vindictive act against Caddy, unfolds his moral defect and increasing unreliability. In the narration concerning Caddy, the unreliability of the first three narrators is growing. Therefore, Caddy's character heavily relies on the last narrator, the fourth third-person restricted omniscient narrator.In the narrative of the fourth third-person restricted omniscient narrator,"he"does not detract from the positive character of Caddy at all. Dilsey is highlighted for her kindness and motherly love. In the sermon of the negro church, the recollection and the blood of the lamb remind us of Madonna and her child, coupled with Caddy who has been a daughter and now is a suffering mother. Caddy is surrounded by a religious and romantic aura. In the Appendix, the third-person restricted omniscient narrator does not define the depravity of Caddy, on the contrary,"he"adopts a satirical tone against those pursuing Caddy's total depravity. In the narration of the fourth section and the Appendix, our emotional and ethical worlds are mixed together, towards a blurring one. The narrator tends to romanticize woman.In fact, basing our interpretation of the narrative of the implied author upon the whole text, we find out two threads prestructured within it: the one by which the implied author induces the implied reader step by step and the two parties both collude to push Caddy to the abyss of her total depravity. However, the first thread is not defined by the end of the textual narrative. Therefore, understanding the narrative of the implied author, we have to deny the narration of the unreliable narrators concerning Caddy and infer her real character: kind, loving, passionate and mysterious. That is the other thread of the narrative, a torrent of power the text is intended to unveil. When we perform our ethical responsibilities, we understand the poignancy and pressure of the narrators who directly or indirectly express out of their heart or suppressions. Furthermore, we understand the narration of the implied author, and eventually we recuperate the character of Caddace Compson.