As I Lay Dying Essay Research Paper free essay sample

As I Lay Diing Essay, Research Paper AS I LAY Death In # 8220 ; As I Lay Dying # 8221 ; William Faulkner uses multiple points of position to research the subject of being as a motionless and nonmeaningful rhythm. The rhythm is motionless because it is ineluctable and unchangeable. One can neer go forth the rhythm of life and decease. Peoples perpetuate the rhythm by making life, but in making life they are making decease, for life irrevocably leads to decease. Faulkner depicts being as meaningless. Nothing truly changes in the narrative. On the surface the characters appear to alter, such as Addie deceasing, Darl traveling brainsick and Anse acquiring a new married woman, but none of these alterations are truly every bit relevant as they seem. By utilizing multiple points of position Faulkner lets us into each character? s head. We see how each individual thinks about the rhythm of being. This penetration could be accomplished with an all-knowing storyteller, but Faulkner? s manner is much more effectual. We will write a custom essay sample on As I Lay Dying Essay Research Paper or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Faulkner allows us to see a ten-year-old? s position on life and decease from the position of a ten-year-old, alternatively of from the position of some omniscient storyteller that doesn? t truly know what it? s like to be a ten-year-old. Besides, the existent sequence of storytellers is in a rhythm. We don? T merely hear all of Darl? s point of position, and so Anse? s, and so Peabody? s. Faulkner cycles through his characters, returning once more and once more to people like Darl and Dewey Dell and Vardaman, while holding characters such as Jewel and Addie speak merely one time. Addie Bundren is in many ways the cardinal character of the narrative. The secret plan revolves around her as her household tries to acquire her organic structure to Jefferson for entombment. Her individual soliloquy comes in the exact center of the book, doing her geographically the cardinal character. Most significantly nevertheless, she is the character who best expresses the motionless and nonmeaningful rhythm of being. # 8220 ; My male parent said that the ground for life is acquiring ready to remain dead # 8221 ; ( 506 ) . With life comes the unmistakable cognition that decease will finally follow. Peoples live their full lives cognizing that finally all they have to look frontward to is decease. This makes life meaningless, since it will wholly be forgotten with one? s decease. Granted, this position could be challenged by people who believe in an hereafter, but the lone two truly spiritual people in # 8220 ; As I Lay Dying, # 8221 ; Cora and Whitfield, are portrayed as sl ightly stupid and insincere. So Faulkner seemingly wants us to believe that life is nonmeaningful. For the characters in his narrative, life is surely meaningless. Addie describes the nonsense of life when she talks about words. # 8220 ; # 8230 ; words are no good ; that words wear? t of all time fit even what they are seeking to state at # 8221 ; ( 504 ) . If words are meaningless, so how can life hold significance, since words are humanity? s support? Wordss are what allow communicating, and communicating is what gives life significance. Without communicating life is barren of all societal facets, and worlds are societal animals. Addie realizes the nonsense of life, and she knows that she is caught up in the rhythm of life and decease, and that there is no flight signifier it. She knows that she brought her kids into the same rhythm that she herself is in, and that they excessively will populate empty lives merely to decease. Dewey Dell? s state of affairs is an illustration of how the rhythm of being is perpetuated, even against her will. She tries to non go on the rhythm into the following coevals, but the rhythm is so powerful that she can non avoid holding the kid. Faulkner gives us Dewey Dell? s point of position, because without it we might non even know that she is pregnant. If the narrative were told from, state, Cash? s point of position, we would hold no thought that Dewey Dell wants to travel to Jefferson to hold an abortion. An all-knowing storyteller could give us this information about Dewey Dell, but it would non impact us the same manner as when it comes straight from her. By utilizing the first individual point of position Faulkner takes us inside the characters? heads and makes us a portion of their ideas and actions. So when Dewey Dell says, â€Å"I lean a small forward, one pes progressing with dead walking† it affects us much more personally than if an omniscient storyteller says the same thing ( 471 ) . It? s like Dewey Dell is sharing a portion of herself with us. She is sharing her cognition of the rhythm of being. She knows that she is alive, but that each measure merely brings her one measure closer to decease, and she brings us c loser to herself by giving us this cognition. Dewey Dell embraces the readers in a manner that no all-knowing storyteller could in this narrative. Vardaman is excessively immature and inexperient to to the full understand the significance, or nonsense, of life, yet he absolutely describes the stillness of the rhythm of being. # 8220 ; I strike at them, striking, they wheeling in a long lurch, the roadster wheeling onto two wheels and motionless like it is nailed to the land and the Equus caballuss motionless like they are nailed by the hind pess to the centre of a gyration home base # 8221 ; ( 469 ) . Life and decease are like the Equus caballuss and buggy? separately they move, yet the full rhythm stays motionless in the same topographic point. The rhythm is like the twirling home base that Vardaman describes. It makes things appear to travel and alteration, but in world everything merely stays the same. This gyration and motionless and circling imagination is repeated throughout the book. The inundation scene has the gyration yet stationary imagination, and turkey vultures are invariably circling above Addie? s casket. This perennial imagination makes it an of import portion of the narrative. The alterations that the characters go through truly aren? t alterations at all ; they are merely the following stairss in the rhythm of being. Addie deceasing merely finalise her life. She was traveling towards decease her full life, and she eventually makes it. Anse acquiring a new married woman doesn? t alteration anything in the household construction. She is merely a replacing of Addie. Everyone? s life goes on merely as it had before, with the exclusion of Darl, who goes to a mental establishment. However, his daftness is non every bit unusual as it foremost appears. Throughout the full narrative Darl is absolutely confused about his ain individuality. He doesn? Ts know who he is, or who he is non. He doesn? t understand what his topographic point is in life, and the fact that he goes brainsick is merely the following measure in his individuality crisis. Again, it is because we are given Darl? s ideas that his daftness makes sense to us. We are brought into his baffled head, an d so when it eventually cracks we understand why. So cipher in the narrative truly alterations. They are all in a inactive province of being, traveling easy towards decease. Faulkner? s usage of point of position helps us understand how the characters feel about their rhythm of being, and how much of it they genuinely understand. If Faulkner had told this narrative any other manner, we would non understand the rhythm every bit good as we do. We wouldn? T experience a portion of they narrative and the characters. We would be distant from their emotions and ideas. But as it is, we feel like a portion of everyone in the narrative, and we can associate to and understand their ideas.