المستخلص: |
The present study attempts to analyze the linguistic potential of Quentin’s stream of consciousness submerged within his interior monologue that makes up the second section in Faulkner’s The Sound and Fury. Quentin who is the sole narrator of the section is on the verge of madness as he speculates his family’s degeneration and prepares for his own suicide. His interior monologue shows all the signs of madness and mental disorder. He breaks his sentences, leaves them incomplete, flouts grammar, and neglects the usual traditions of verbal communication. However, his linguistic output, which seems to be lacking in discipline, is found to pack itself up into regular patterns of peculiarities and distortions. This study is an attempt to uncover and elicit as well as sort out these peculiar patterns that are obviously Quentin-specific. The narrative functions of these deliberate distortions are also touched upon in addition to their thematic thrust, which contributes to the overall symphony, which the three Compson brothers compose.
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