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As I Lay Dying Themes

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Seclusion

Faulkner’s structure is particularly appropriate for the style of seclusion. The characters exist within their own series of interior monologues; we come across each character, alone with their secret yearnings and worries. With numerous characters, we are struck by their loneliness. Darl’s seclusion is the most poetic and the most tragic. He is a powerfully intuitive observer, however his sensitivity and sparkle frequently isolate from others. He sees his siblings with a paradoxically combined mindset swerving from empathy and loyalty to supreme and insensitive detachment. Numerous characters feel bitter Darl since of how he trespasses on their seclusion: Dewey Dell hates Darl for making her feel susceptible, and Gem lashes out at Darl for seeing the fact about him.

The Physical

The unique harp on the realities of land, nature, and physical processes. One does not feel removed from nature, with all of its power and nastiness. The land and the trouble of making money from it, in addition to the power of the flooded river, expose guys as being part of a frequently hostile environment. Nature’s belligerence is seen in our really bodies. The sterilized version of death preferred by Whitfield is used just as a foil for the much nastier truth faced by the Bundrens. The stinking remains and the ever present buzzards present a vision of death at its most repulsive and physical.

Work

Work is a repeating style of the unique, usually linked to Money. Cash is a male whose work provides him an identity; we hear the sound of his saw before we see him, and in all of the characters monologues Cash is inseparable from his work as a carpenter. Work plays itself out in another method with Anse, whose laziness and stupidity, together with his whining and self-pity, earn the reader’s unqualified contempt.

Hardship

The Bundrens are amongst the poorest characters in all of Faulkner’s work. This hardship enforces harsh limitations on them. It makes them dependent on their neighbors, and resentful of that dependence; typically, the Bundrens show a worthless mix of dependency and pride. Their poverty likewise makes life so harsh that little time can be allocated for sorrow, or recovery. Discomfort is concealed, and the work of daily life goes on.

Religious beliefs

Numerous character muse about God and male throughout the novel. Faulkner tends to be rather crucial of simplistic Christianity. The minister Whitfield is exposed as a self-satisfied hypocrite, concealing his transgression with Addie yet preserving that he has wrestled with the devil and won. Cora’s piety also grows progressively frustrating, specifically when it ends up being clear that she ignores any truth or event that contradicts her pre-established beliefs.

Task

Commitment is a crucial style of the book. The family is bringing Addie’s body to Jefferson, to bury her as she wanted to be buried. There is much speak about duty. Addie herself speaks of duty regarding her relationship to Anse; to hear her speak of it, duty is a joyless however necessary part of life. Anse, too, continuously speaks of his task to Addie, and the requirement to bury the body where she wished it to be buried. However task appears somewhat delicate. Anse takes up with a new lady less than two weeks after Addie’s death. And in terms of duty, the ties within the Bundren family fray rather rapidly when it comes time to turn in Darl.

Being

Both Vardaman and Darl are taken by concerns of being, awareness, and identity. His mom’s death has only included confusion to these questions; Vardaman can not understand how something that “is” can become “was.” Darl’s musings veer between striking eloquence and a sort of stylish crudeness. Darl engages in intense sessions of questioning, in which he takes a look at the structures of being and consciousness. These concerns take on a terrible significance when Darl loses his mind, and his principle of himself is completely undermined.

Death

With the main action being the shipment of Addie Bundren’s body to Jefferson, mortality is an inevitable theme. Death here is nasty and extremely physical, with a stinking remains and fat buzzards always following close behind. Death is likewise rendered more uncomfortable due to the cruelty of life. Addie is not permitted real rest. Her dead hands are described as still unresting, as if they could not believe that their work was done. And even after death, her body is made to suffer a variety of new indignities.

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