Bloody civil war Essay

The final two chapters of the novel, Ike tries to discover and understand the history of his own family and the way in which they had treated the blacks. He even attempts to make amendments to one of them, by sending some money. The brief chronicle that he finds of his family helps him reconstruct some parts of the history. He remembers for example, the little hut in which all the black people were herded together, and the way in which the whites manufactures bleaching substances for the blacks to use so as to change their color: â€Å"[†¦]the square, galleried, wooden building squatting like a portent above the fields whose laborers it still held in thrall ’65 or no and placarded over with advertisements for snuff and cures for chills and salves and potions manufactured and sold by white men to bleach the pigment and straighten the hair of Negroes that they might resemble the very race which for two hundred years had held them in bondage and from which for another hundred years not even a bloody civil war would have set them completely free[†¦.]†(Faulkner, 245) This forced change of hair color is very significant: the author emphasizes the fact that the whites wanted to transform the black and make them as themselves, a race however quite imperfect since it is the one that invented slavery. Neither the land nor the people can be bought, since they have been left to live free by the creator of the world. Man’s possession of land or of slaves only imaginary, since these primary things cannot be bought: â€Å"’Bought nothing. Because He told in the Book how He created the earth, made it and looked at it and said it was all right, and then He made man. He made the earth first and peopled it with dumb creatures, and then He created man to be His overseer on earth[†¦]Because it was never Ikkemotubbe’s fathers’ fathers’ to bequeath Ikkemotubbe to sell to Grandfather or any man because on the instant when Ikkemotubbe discovered, realised, that he could sell it for money, on that instant it ceased ever to have been his forever, father to father to father, and the man who bought it bought nothing. † (247) In the family’s brief chronicle, Ike discovers many of the iniquities that were common at the time, in what regarded the black people. His grandfather had had sons and daughters of the black slaves, and never acknowledged them. Also, the contracts done between the blacks and the whites were invalid, since the black man had no way to claim his rights or to prove them, since he was usually even unable to read: â€Å"and it would seem to the boy that he could actually see the black man, the slave whom his white owner had forever manumitted by the very act from which the black man could never be free so long as memory lasted, entering the commissary, asking permission perhaps of the white man’s son to see the ledger-page which he could not even read, not even asking for the white man’s word, which he would have had to accept for the reason that there was absolutely no way under the sun for him to test it[†¦]†(256) Ike ironically observes the extent of the injustice done to the children that were not acknowledged because they were black, and the way in which they were usually simply given a sum of money to make amends: â€Å"So I reckon that was cheaper than saying My son to a nigger he thought. Even if My son wasn’t but just two words. † (259) Thus, Faulkner’s novel is centered around the idea of the essential freedom given by nature to any creature. The bear is a symbol for this freedom, and his spirit is akin to that of the blacks and Indians: â€Å"[†¦]an old bear, fierce and ruthless not just to stay alive but ruthless with the fierce pride of liberty and freedom, jealous and proud enough of liberty and freedom to see it threatened not with fear nor even alarm but almost with joy, seeming deliberately to put it into jeopardy in order to savor it and keep his old strong bones and flesh supple and quick to defend and preserve it; an old man, son of a Negro slave and an Indian king, inheritor on the one hand of the long chronicle of a people who had learned humility through suffering and learned pride through the endurance which survived the suffering, and on the other side the chronicle of a people even longer in the land than the first. † (Faulkner, 267) The same ideas appear in the short story called That Evening Sun, but the author here emphasizes the barrier that existed between the blacks and the whites. The story, which has the same characters of the Compson family as The Sound and the Fury, is centered on a black servant called Nancy and on her agony at having been left by her husband and the terror that he might return and kill her. Nancy is terribly beaten by the police when she tries to claim her pay from a white man, and then locked up: â€Å"When you going to pay me, white man? When you going to pay me, white man? It’s been three times now since you paid me a cent-‘ Mr. Stovall knocked her down, but she kept on saying, â€Å"When you going to pay me, white man? It’s been three times now since—‘ until Mr. Stovall kicked her in the mouth with his heel and the marshal caught Mr. Stovall back, and Nancy lying in the street, laughing. She turned her head and spat out some blood and teeth and said, ‘It’s been three times now since he paid me a cent. ’†(Faulkner, 289) The story focuses on the impressive agony of the woman and her loneliness, as the whites refuse to comfort her in any way. The prejudices against the blacks are again obvious: as in The Bear, the villagers remark that a black person would never commit suicide, unless under the power of a drug: â€Å"He said that it was cocaine and not whiskey, because no nigger would try to commit suicide unless he was full of cocaine, because a nigger full of cocaine was not a nigger any longer. †(Faulkner, 291) The idea of the white people is that the black have no feelings and no inner life of their own, and that they live mostly like beasts, therefore could never have the impulse to suicide. The woman tries to cling to the children’s company in her distress and her fear of the husband that she thinks will come after her. The recurrent remark that she makes, saying that she is no more than a nigger is very significant. She underlies the fact that she is actually perceived as only a nigger, and that even she feels like that: â€Å"I ain’t nothing but a nigger,† Nancy said. ‘It ain’t none of my fault. ’† (Faulkner, 296) She cannot escape her race, and, although she feels she has an inner life she does not have an identity to associate it with. The last fragment of the story is of utter importance: Quentin, the storyteller remains listening to the sounds made by Nancy after they live her house, and hints at the barrier between the white and the black. The whites merely live her and her problems, as she is not considered to be important enough for further consideration: â€Å"But we could still hear her. She began as soon as we were out of the house, sitting there above the fire, her long brown hands between her knees. We could still hear her when we had crossed the ditch, Jason high and close and little about father’s head. Then we had crossed the ditch, walking out of Nancy’s life. Then her life was sitting there with the door open and the lamp lit, waiting, and the ditch between us and us going on, dividing the impinged lives of us and Nancy. â€Å"(Faulkner, 300) Thus, Faulkner describes the lives of the black and white people in the Southern world with great insight, emphasizing the essential freedom of man as of nature, and the impossibility to possess or reduce them and limit their importance. Works Cited: Abadie, Ann J. Faulkner in Cultural Context. Jackson: University Press of Mississippi, 1997. Clark, Jim. â€Å"On Faulkner. † The Mississippi Quarterly. http://www. questia. com/app/direct/SM. qst Faulkner, William. Collected Stories of William Faulkner. New York: Random House, 1950. — Three Famous Short Novels. New York, Vintage Books, 1958. Singal, Daniel J. William Faulkner: The Making of the Modernist. Chapel Hill: University of North Carolina Press, 1997. â€Å"William Faulkner†. http://www. kirjasto. sci. fi/faulkner. htm