There are four Compson children, and four chapters in The Sound and the Fury. Each of the three previous chapters has been narrated by one of the Compson children; the only one left is Caddy. Since Caddy is in many ways the most important character in the book, it would be natural to expect Caddy to be the narrator of the fourth section. But instead, Caddy is cut out of the novel completely: this chapter is narrated by a third-person omniscient narrator, and the focus of the section, bewilderingly, is on Dilsey, theCompsons’ Negro cook. The end of the novel, and the symbolic ending of the Compson clan, does not occur with climactic bang, but rather with a kind of fizzling away into insignificance. Jason’s loss of the seven thousand dollars — four of which did not belong to him (hence his claim to the sheriff that he had lost three thousand dollars) — and his subsequent, ineffectual chase of Miss Quentin and the man in the red tie are hardly exciting, moving, or tragic events.
More important is Dilsey’s simple, strong, protective presence, the only thing holding the Compson family together. Dilsey’s simple piety enables her to love Benjy and feel unashamed when she takes him to church. Faulkner once called the Compson ‘tragic ” people and Dilsey a ‘good’ person. This contrast sheds light on the roles of the characters throughout the novel. Dilsey is not obsessed with the passage of time, and is not overcome by the chaos of experience in the same way as the ‘tragic’ characters.
Macbeth is first presented as a mature man of definitely established character, successful in certain fields of activity, and enjoying an enviable reputation. One must not conclude that all Macbeth's actions are predictable. Macbeth's character is made out of potentialities and the environment, and no one, not even Macbeth, can know all of his inordinate self-love. Macbeth is determined by a ...
Rather, she simply endures through happiness and sadness with the same incorruptible faith and the same will to protect those she cares about. For just a split second at the end of the novel we are taken back into the mind of Benjy, in a way which returns us to the novel’s great theme of the way people make order out of the chaos of experience. Benjy is almost unable to bear it when the surrey turns in an unexpected direction: suddenly his carefully ordered routine is shattered. But when Luster steers it back onto the familiar route, Benjy is quieted: order prevails, and the elements of his experience are where he expects them to be.