The order of nature and human history : a study of Isaac McCaslin's trilogy in
Faulkner's Go down, Moses
著者（英） Chiaki Ohashi
journal or
publication title
Core
number 14
page range 22‑40
year 1985‑03‑20
URL http://doi.org/10.14988/pa.2017.0000016415
22
The O r d e r o f N a t u r e and Human H i s t o r y : A S t u d y o f I s a a c M c C a s l i n ' s T r i l o g y
i n . F a u l k n e r ' s Go Down ， Moses
C h i a k i O h a s h i
I
Throughout the body of William Faulkner's stories evil is not an act but a condition; that is， it is not presented as a possibility but as an omnipresent reality. Evil is not expected to be avoided or overcome by human choices or social progr己ssin the future. It is in this respect that Jean‑Paul Sartre views Faulkner's characters as trapp己din a " barred future" where there is never any progression， nothing which can come from the future" and everything is in suspension." 1 This idea of evil is expressed by Isaac McCas1in in The Bear." Isaac thinks that the South is affiicted with the "curse" of slavery. It is a curse like that of Original Sin， for which no person is responsible" 2 but from which no person can be exempt as long as he lives.
As evil is an omnipresent and irreversible condition in Faulkner's work， however， so is the heart's truth eternal. McCaslin Edmonds， who has had strong formative influence upon his younger cousin， helps Isaac to understand the idealistic nature of his not shooting the bear， Old Ben， in order to rescue the little fyce with a kind of desperate and despairing courage." 3 McCaslin quotes Keats's Grecian Urn，" which
The Order of Nature and Human History: 23 shows his spiritual tendency to grasp truth aesthetically， his view that
Beauty is truth， truth beauty." McCaslin explains:
Truth is one. It doesn't change. It covers all thi・'ngs whi・ch touch the heart‑Honor and pride and pity and justice and courage and love. . .. They all touch the heart， and what the heart holds to become truth， as far as we know truth (297). Later， when Isaac undertakes to repudiate the plantation that has come down to him as his patrimony， McCaslin final1y realizes that Isaac's act of renunciation is motivated by a like insight. Faulkner expresses this belief in the eternal spirit of man in the speech of acceptance upon the Award of the Nobel Prize for Literature:
1 believe that man will not merely endure: he will prevail. He is immortal， not because he alone among creatures has an inexhaustible voice， but because he has a soul， a spirit capable of compassion and sacrifice and endurance.4
When in 1940 Faulkner mentioned to the editor of Random House his conception of Go Down， Moses as a volume， collected short stories， general theme being relationship between white and negro races here，" 5
he did not have all significant portions in mind yet. The later combi‑
nation of the wilderness theme of The Bear" with the Negro theme， as well as the publisher's addition of the phrase and Other Stories to the title of Go Down， Moses in its first publication has caused many critics to ponder over the tenuousness of the connection between the episodes， especial1y between the hunting episodes and the rest of the book， and even over the problem of whether the book be cal1ed a novel or a collection of short stories. A novel or not， the importance of the
24 The Order of Nature and Human History :
trilogy composed of The Old People，" The Bear，" and Delta Au‑
tumn" which constitutes the climactic portion of Go Down， Moses must be emphasized， for it gives the rest of the book a wider historical con帽 text and clarifies the relation between the individual and the develop‑ ing historical circumstances， by presenting a character who， in the mid‑ dle of the tr丘ditionand the accomplished facts of his times， tries to transcend time to find an existence beyond th己 phase of the ongoing process of history. In spite of the objective details and attention to an historical .past， the problems presented in Go Doωn， Moses are universal. Isaac McCaslin's life represents man's capacity to endure under the historical condition of evil and irreversible circumstances and heredity. Faulkner's addition of the wilderness theme means much to the whole volume. William Van O'Connor refers to Go Down， Moses as follows:
This book of related short stories does mark a profound shift in his work. In place of the sens色 of doom， of tragic inevi‑ tabilities， or of an Old Testament harshness， one finds a sense of hopefulness， a promise of salvation.6
It is only a promise that one can find in the book， but surely the promise helps m丘n toendure by lifting his heart." 7
This essay is concerned with examining the relationship between the heart's truth and evil which is represented in Isaac McCaslin's trilogy.
H
Symbolic elements in the trilogy， pertaining to the broad stream of the pastoral which courses through American writing， have long been pointed out. The big woods to which Isaac is initiated certainly has
The Order of Nature and Human History : 25 a quality equivalent to the wilderness in ]ames Fenimore Cooper's The Deerslayer and Nigger ]im's island in Mark Twain's The Adventures 01 Huckleberry Finn. But Faulkner's vision goes beyond it. He grasps the concept of life" in the abstract. After 1saac has shot his :first buck at the age of twelve， he sees another buck which may be an apparition. Sam Fathers， the boy's mentor， salutes it and says， Oleh， Chief. Grandfather" (184). When 1Saac tells his cousin McCaslin Edmonds the story， the latter coni:frms it. He expresses the concept of life's etern且 organic cycle， when he says to 1saac:
And the earth dont want to just keep things， hoard them; it wants to use th告m again. Look at the seed， the acorns， at what happens even to carrion when you try to bury it: it refuses too， seethes and struggles too until it reaches light and air again， hunting the sun still (186).
The big woods are the place where life has continued its cyclic exist‑ ence.
The time in the primordial woods is what Frederick ]. Hoffman h且s called the Edenic time." 1t is a non‑historical time， when "active moral criteria either have not yet entered human history or are not really contained within the human consciousness." 8 But such an un‑ historical condition is at the same time something which man has tried to grasp by his human consciousness. The bear hunt in which the hunters take part each November is a fulfillment of their desire to re圃
turn to the organic order of nature， the yearly pageant‑rite of the old bear's furious immortality" (194). They do not even intend to kill Old Ben. The hunt is an imitation of the natural way of life， and Sam
26 The Otder of Nature and Human History:
Fathers passes on to Isaac the skills and va1ues not to destroy the big woods but to live within and harmonious1y with them. The hunting camp is an image of the society which has its being in a pure1y natu‑ ral setting and natural skills. Everyone has a p1ace and something to do， which， un1ike the rigid and re1entless hierarchy of the Southern society， gives one an assuring sense of paIticipation.
The hunt takes on a re1igious hue when Sam Fathers， the priest， ob‑ serving the ritua1， comp1etes Isaac's initiation into the wilderness by marking the boy's forehead with the b100d of his五rstbuck. This act has to do with conceptua1 primitivism， with the impingement of the nature as norm concept. Isaac， unab1e to phrase his inner fee1ings， thinks，1 slew you: my bearing must not shame your quitting life. My conduct for ever onwαrd must become your death" (351). Sam Fathers， as Lee Jenkins argues， is
a living embodiment of the ancestral memory of the freedom of spirit and the community of men in honorab1e and equab1e re1ationship among themse1ves and with nature.9
Isaac is his responsive initiate who， following Sam's directions， rang己S
the woods， but he fai1s to see the bear， who is a kind of " prima1 god." 10
It's the gun，" says Sam to Isaac. And in the boy's mind:
The camp‑the clearing， the house， the barn and its tiny 10t with which Major de Spain in his turn had scratched puni1y and evanescently at the wilderness‑faded in the dusk， back into the immemoria1 darkness of the woods (206).
You wil1 have to choose，" Sam says (206). The choice Sam is re困
ferring to is the one between the natura1 way of existence and the
The Order of Nature and Human History: 27 human， civilized one. But to the boy， who has already dedicated his life to the wilderness with patience and humility" (199)， it is
not a choice， but a condition in which not only the bear's here‑ tofore inviolable anonymity but all the ancient rules and bal‑ ances of hunter and hunted had been abrogated (207).
He tries again， leaving the gun， his compass and watch， and then he does see the bear.
If we limit OUr discussion strictly within the context of the wilder司 ness theme of the story， the woods and the animals and the men who live by and within the woods bear out a Rousseauistic myth. Isaac throws aw且ythe implements of civilization， among which the most im‑ portant is the watch， for he achieves the sense of a non‑temporal ex‑ istence by going without it. Boon uses a knife rather than a gun when he works in partnership with Lion. General Compson， one of the dis司 tinguished hunters， thinks that the hunt precedes school as a means to education. And Sam Fathers， a man born of a Negro slave and Chikasaw chief， represents the concepts of primitivism. His heritage m旦keshim a taintless representative of the Noble Savage. Nature renders human life in its utterly simple， honest， and lively states.
Edenic time in the wilderness is expressed often with refeamce to Keats's urn image throughout the trilogy. On the day that Isaac， at the age of ten， first participates in the hunt， the timelessness of the woods is contrasted with m丘n'stemporal progress:
一thesurrey itself seemed to have ceased to move... as a solitary smal1 boat hangs in lonely immobility， merely tossing up and down， in the innnite waste of the ocean while the water
28 The Order of Nature and Human History :
and then the apparently impenetrab1e 1and which it nears with‑ out appreciable progress . . . swings slow1y . . . (195).
And after Isaac has killed his first buck it seems to him
the buck still and forever 1eaped， the shaking gunbarrels com‑
ing constantly and forever steady at 1ast， crashing， and still out of his instant of immorta1ity the buck sprang， forever im‑
mortal~ (178).
The rhetoric is used to define， not the order of 1iving nature itself， but an arrest of human conscIousness，
a state of suspensIon; In many cases it a1so suggests an "ideal "
state of nature which precedes the onrushing of time， the be‑ ginning of "progress" and decay in human affairs
. u
The desire to return to the organic order that nature has in itseH， which is expressed in various dimensions as we have seen， however， will not be fu1五l1ed. The paradise is 10st， where humanity cannot reach it any longer. To a 1arge extent， the forms of life on earth had been molded by the environment unti1 humanity appeared and started not only to OWn the earth but to intervene in and destroy the Interaction between living things and their surroundings. Humanity is banished from the organic cycle and is denied the opportunity for returning to lt.
E
Throughout the fourth section of The Bear，" the ana10gy between humanity's banishment from the organic order of nature and the bib‑ lica1 banIshment from the Garden of Eden makes Isaac resort for ex‑
The Order of Nature and Hurnan History: 29 planation to the Bible， the highest authority that he knows. But it is obvious that for him the fundamental source of his argument has been not biblical but his close contact with nature in the wilderness. He is just trying to explain to McCaslin something which he does not quite understand himself，not in justificationof it but to explain it if [heJ can" (288). He reflects on the b丘nishment:
Because He told in the Book how He created the earth...
and then He made man . . . to be His overseer on the earth and to hold suzerainty over the earth and the animals on it in His name， not to hold for himself and his descendants inviolable tit1e forever， generation after generation， to oblongs and squares of the earth but to hold the earth mutual and intact in the com‑
munal anonymity of brotherhood， and all the fee He asked was pity and humility and su百'eranceand endurance and sweat of his face fo1' bread" (257).
But with the beginning of history begins humanity's h己edless rap己 of the land， greedy aggression and self‑regard. Above all， 1丘ndownershi p was， according to Isaac， a denial of the communal anonymity of broth‑ erhood."
Isaac'
、
shighly subjective int邑rpre抗ta討tionof th色Bibleleads him t凶ospecu仔1ト凶late about the Crea幻toα1"songoing wil. 1 He goes on to interpret human history. There were
. . . the五vehundred years of absentee landlords in the Roman bagnios， and the thousand yea1's of wild men from the northern woods who dispossessed them and devoured their r且vish己dsub‑ stance 1'avished in turn. . . until He used a simple egg to dis‑ cover to them a new world where a nation of people could be
30 The Order of Nature and Human History:
fO¥J.nded in humility and pity and sufferance and pride of one to another" (258).
But there was no hope for the、landas long as the Indians accursed it by holding it in unbroken succession even before any white person owned it. So God used the blood of the whites which brought in evil to destroy evil as doctors use fever to burn up fever， poison to slay poison"
(259). God created the bεautiful South， watched humanity destroy it， collaborated with John Brown， and kept His face turned to His people. Finally He made the Rebels unite and nght against hopeless odds， think‑ ing， A仲arentlythey can learn nothing save through su
. f f
ering， re咽 member nothing save when underlined in blood" (286). God， Isaac says，must accept responsibility for what He Himself had done in order to 1ive with Himself in His lonely and paramount heaven" (282). And Isaac says that He has selected him among others to repudiate the land， to break with human history which has been driven by lust and power.
Humanity has begun to ceaselessly wear out the n乱tural wilderness. It is implied in the nrst section of The Bear " that the big woods are undergoing a process of inevitable change:
that doomed wilderness whose edges were being constantly and punily gnawed at by men with ploughs and axes who fe且red it becaus色 itwas wilderness. .. (193).
The tr己mendousbear， an "apotheosis of the old wild life" (193)， rep‑ resents the diminishing wild己rnessits号lf，in the sense that it is the pa‑ triarch of the wilderness embodying the virtues in some undenned way， and that it has no hope for future g巴nerations. The primitive world of the old freεfathers disappears to make way for the civilized world
The Order of Nature and Human History: 31 of contemporary people who have been expelled from the primitive world for ownership of land and setting up of a system based on physi‑ cal or economic slavery.
Isaac is born into this latter world; therefore， he is one of the ban ished. So when he is first allowed to enter the woods， he cannot but feel a sense of his insulation from nature， awareness of his own limited existence， with an abjectness， a sense of his own fragility and impo‑
t色nce against the timeless woods" (200). Isaac is initiated into the wilderness and becomes competent in the woods. He has dedicated his life to th巴 wild己rnessand throws away the implements of civilization to see the bear. Thus he comes near邑rto nature than most men with more experience. Yet even when he returns for the last time to the big woods to visit the graves of Sam Fathers and Lion， he is still in‑ sulated from the organic cycle of nature.
Then he was in the woods， not alone but solitary， the soli‑ tude closed about him， green with summer. They did not c
:hang，己and， timeless， would not， anymore than would the green of summer and the fire and rain of fall and the iron cold and sometimes even snow (323).
The human world of civilization is marked by chang己 It is in a striking contrast to the primordial aspect of the world of the wilder‑ ness. Isaac has foreboding that the wilderness will suffer irretrievable change because of human exploitation of the land. At the age of thir‑ teen he understands that there will be a last day， 明1heneven he [Old BenJ dont want it to last any longer" (212). Part II ends as follows:
So he should have hated and feared Lion. Yet he did not.
32 The Order of Nature and Human History :
It seemed to him that there was a fatality in it. It seemed to him that something， he didn't know what， was beginning; had already begun. It was like the last act on a set stage (226). By the entranee of the indomitable and unbroken spirit" (219) of Lion， the inevitable change is implied as coming to the wilderness. In Delta Autumn" it is the year 1940 and Isaac， now s己venty‑three，has gone on the annual hunt with the descendants of his former companions.
They come to the camp by car， not by horse and surrey， and it is now more than two hundred miles to the hunting site located not in a big woods but in the delta at the end of the road. Change is underlined by loss. Doe deers must now be protected ag且inst extinction. While they drive to camp， "¥耳V'illLegate teases Roth Edmonds， the grandson of McCaslin Edmonds and the present plantation proprietor， by saying that Roth hunted a doe the year b日fore. He is apparently talking about a woman:
Of course a old man like Uncle Ike can't be interested in no doe， not one that walks on two legs‑when she's standing up， that is. Pretty light‑colored， too" (337).
As implied by the diminished wilderness， th邑huntinghas been divested of its primal meaning. The hunters are no longer fil1ed with awe for the creatures in the woods， and as can be seen in the c丘valier jest of Will Legate， they do not even have admiration for each other. As the quality of hunting goes through change， the position of the spiritual leader has been diminished to a great degree. Isaac's leadership is far from that of Sam Fathers in the old days.
Although the wor ld of ci vilization is m丘rkedby change， it does not
The Order of Nature and Human History: 33 mean that the dignity of human nature has gradually been degraded in the course of history. The unguided change means human banish‑ ment from life's organic cycle. Human history begins ¥vhen they be‑ gin to think of the passage of time in terms not of natural processes the cycle of the seasons， life corresponding to it‑but of a series of events which have no sense of directions to le且d their consequences. Hence occurs change. Humans alon己aresuch complex creatures that they have been constantly changing their environment.
IV
Now that we have set the distance between the wild己rness and hu‑ manity， nature and human nature， let us examine Isaac's life from that perspectlve.
The hunters who took part in the yearly bear hunt shared a common wish to return to an ideal state of nautre. As can be seen at the end of The Old People，" McCasliri Edmonds， like Isaac， had been initi‑ ated into the wilderness， and learned from Sam Fathers and the big woods. What， then， makes Isaac cling to the world of wilderness， while even Major de Spain sold the timber rights on the big woods to a Memphis company? There is a condition which separates Isaac deci‑ sively from McCaslin and other hunters; Isaac， free from social obli‑ gations， has grown up and become a man in the primitive world of the wilderness. On the contrary， as is suggested at the beginning of Go Down， Moses by the description of McCaslin as rather his [Isaac'sJ brother than cousin and rather his father than either" (4)， and as is reiterated on many subsequent occasions， McCaslin has been deeply rooted in reality and in life. Ever since Uncle Buck and uncle Buddy
34 The Order of Nature and Human History :
died and the management of the farm passed to him， McCaslin has been placed in traditionally and practically conditioned situations， existentially committed to minding the store and maintaining business as usua l.12
The hunters' li ves have been' li ved in one of the painful epochs of the Southern history during which the Civil War occurred， and the Recon‑
struction period following the defeat has come. Isaac has grown up only into its sequal， although with its residue of intractable unrest.
The五rstsixteen ye乱rsof Isaac's life are a formative period whose pattern is determined. His character may be said to develop until he visits the graves in the wilderness. This ends the development of his character. After this point in the story his character is revealed rather than developed. 1t is when Isaac is sixteen that Old Ben is killed and Sam Fathers dies. In that same year Isaac reads the ledgers in the commissary. This is the first time that Isaac tries to place himself within the civilized world. In the ledgers old Carothers McCaslin， Isaac' s grandfather， recorded
the slow outward trickle of food and supplies and equipment which returned each fall as cottOl1 made and ginned and sold (two threads frail as truth and impalpable as equators yet cable‑ strong to bind for life them who made the cotton to the land their sweat fell on). . . (255‑6).
And during the two decades before the Civil War， Isaac's father and his uncle，abolishonists" after their own fashion， kept the ledgers
as often happened， as if， long since past any oral intercouse， they had used the diurnally advancing pages to conduct th己
The Order of Nature and Human History:
unavoidable business of the compulsion [manumission of the slavesJ which had trav己rsedall the waste wilderness of North Mississippi in 1830 and '40 and singled them out to dri ve (263).
35
As is the c丘sewith his other works， Faulkner's theme of the rejected kinsman is central to Isaac McCaslin's story. Is旦ac read司the entries concerning old Carothers McCaslin's incest and the suicide of his Negro mistress. Isaac tries to deny such a horrible act by his grandfather， to imagine some human mitigation in that widowed old man: there must have been love. . . Some sort of love" (270). Old Carothers's will has imposed upon their white descendants the legal duty of transferring a cash forfeit to the chi1dren begot incestuously by the old patriarch. Isaac thinks to himself: 80 1 reckon that was chealりer than saying My son to a nigger" (269). This reminds the reader of the situation in Absalom， Absalom! in which Thomas Sutpen eases his conscience by leaving his apparently mixed‑blood wife and son in wealth， but refuses to say my son" to Charles Bon. For 1sョac，therefore， the entries in the ledgers seem to include
. . . not only the general and condoned injustice and its slow amortization but th号 specifictragedy which had not been con‑ doned and could never be amortized . .. (266).
Now the idea of the "curse" comes to his thinking. He sees evil as humanity's omnipresent reality. Having been thrown out of the order of nature， human creatures produced various codes in an attempt to define themselves as human. Humans cannot 1ive without constructing some order as an incomplete substitution But they are the codes which， as Richard Chase says of those presented in Light in August， have
36 The Order of Nature and Human History :
become compulsive p丘tternswhich man clings to in fear and trembling while the pattern emasculates him." 13 In 1886 a Negro man takes Fonsiba， one of the servants of the McCaslin plantation， to his farm in Arkansas to be his wife. Isaac， sti1l eighteen， takes Fonsiba's one thou‑ sand dollars to the farm， where he fi.nds the couple in dire extremity. Isaac says to the man:
Granted that my people brought the curse on to the land: maybe for that reason their descendants alone can‑not resist it， not combat it‑maybe just endure and outlast it until the curse is lifted. Then your people's turn will come because we have forfeited ours. But not now" (278).
Historically speaking， the Negroes have been exploited by the whites in order to establish the socioeconomic order of the South. As long as the South has to maintain it， the aftermath of slavery cannot be eradi司 cated in spite of the Civil War or the Emancipation Proclamation. Isaac says to the Negro man that the white can endure and outlast" the curse until it is lifted， not because he is unwi1ling to work that curse out， but because he is ful1y aware of the force of history. There is no sign of the curse being lifted， only the sign of further exploitation. The recognition of such a condition makes him emphasize the e伍cacy of passive suffering， as Irving Howe points out， out of a sense of the terribleness of history， a sense which leads him to reach for a patience beyond hope or despair." 14
So Isaac tries to transcend history by repudiating the land which has come down as his patrimony. He believes that Sam Fathers has set him free from the codes that humanity has set up
，
which are not inevitableThe Order of Natur巴 andHuman History ; 37 but only arbitrary and temporary. Lying in bed in the hunting camp in the delta， he seems to see the two spans" ‑he himself and the wilderness as coevals‑running out together，not toward oblivion， noth‑ ingness， but into a dimension free of both time and space " (354). But history does not release him. Here appears Roth's woman who in fact is the granddaughter of Tennie's Jim， one of old Carothers's black de‑ scendants. She has had relations with Roth and had a child， knowing his identity. She blames Isaac for spoiling Roth by giving the land to Roth's grandfather. Thus， having thought himself free from the on‑ going process of history， he must now confront the fact that by retreating he has produced another condition of alienation of the Negro f1'om the white.
V
As long as a pe1'son is also a part of life， it is indisputable that he or she is not completely separated from the world of nature. The most conspicuous phase is its non‑linguistic quality. In section IV of The Bear，" Isaac argues that， although the men who transc1'ibed the Bible could not make truth simple enough， the t1'uth that is not clea1' from the Bible is found in the human heart. Isaac cannot make McCaslin admit his claim， until at the end of the long and intricate debate， where a wordless communication occu1's between the cousins. What they are simultaneously aware of is a summer day seγen years丘go when Mc‑
Caslin explained the nature of truth to Isaac via Keats's ode. T1'uth is rendered throughout the trilogy as something which is to be grasped aesthetically 01' instinctively. Isaac says， in 1'esponse to Roth who at‑ tempts in vain to justify his having done with the mulatto woman by
38 Th巴 Orderof Nature and Human History:
just paying money， that Roth's argument on human conduct in general is just the mind's reason a man has to give himself，" and one can live according to the heart" which does not always have time to bother with thinking up words that fit together" (348).
Fau叫11knerセachievementin Isaac'
、
strilogy is th抗at，by the inclusion ofthe wilderness and th邑 symbolicpotentialities of the hunt， he has given an ingenious form of expression to the heart's truth， a conceptual good that guides one instinctively toward acts in accordance with the general rhythm of nature. Isaac is aware that he himself is to some extent a historical creation. When Isaac has moved from McCaslin plantation to a boardinghouse in Je妊erson，he thinks to himself of
how much it takes to compound a man (Isaac McCaslin for in‑ stance) and of the devious intricate choosing yet unerring p品th that man's (Isaac McCaslin's for instance) spirit takes among all that mass to make him at least what he is to be， not only to the astonishment of them . . . who believed they had shaped him， but to Isaac McCaslin too (308‑9).
1 partly agree with Warren Beck when he asserts as follows: The passage could serve as locus classicus for all of Faulk‑ ner's work， in his meditative regard for his many characters as human nature uniquely compounded out of heredity and cir‑ cumstance and ongoing choices scarcely scrutable to the choos‑ ers.15
But obviously the importance of the character of Isaac McCaslin lies not in his being caught up in the hereditary and circumstantial condi‑ tions， but in his conceptual， if not physical， transcendence of those conditions. This transcendence in consciousness is another phase of
The Order of Nature and Human History: 39 human nature. In other words， man can be a little better than the net result of his and his neighbors' doings， when he gets the chance to be" (346).
NOTES
1. Jean‑Paul Sartre，Time in Faulkner: The Sound and the Fury，" Faulk‑ ner: Three Decades 0/ Criticism， eds. Frederick ]. Hoffman and Olga V玖 Vickery (Michigan: Michigan State University Press， 1960)， pp. 227‑32. 2. Allen Tate，Introduction" to William Faulkner， Sanctuary (New Y ork :
New American Library， 1968)， p. xi， quoted in Lee Jenkins， Faulkner and Black・WhiteRelations: A Psychoanalytic Approach (New Y ork: Columbia University Press， 1981)， p. 3.
3. William Faulkner，The Bear，" Go Down， J.i1oses (New York: Random House， 1942)， p. 211. Al1 the subsequent quotations from Go Down， Moses are from this edition and only page numbers
、
λ1illbe gi ven in the t己xt.4.、iVilliamFaulkner， Address upon Receiving the Nobel Prize for Litera‑ ture，" Essays， Speeches and Public Letters， ed. James B. ]'yIeriwether (New Y ork: Random House， 1965)， p. 120.
5.もiVilliamFaulkner， Selected Letters 0/ William Faulkner， ed. Joseph Blot‑ ner (New Y ork: Vintage Books， 1978)， p. 139.
6. Wi1liam Van O'Connor， The Tangled Fire 0/ William Faulknel・(Minneaω polis: University of Minnesota Press， 1954)， p. 125.
7. William Faulkner，Address upon Receiving the Nobel Prize for Litera. ture，" Essays， Speeches and Pubtz"c Letters， p. 120.
8. Frederick J. Hoffman， Rヲlliam Faulkner (2nd， revised ed.; New Y ork : Twayne Publishers， 1966)， p. 24.
9. Lee Jenkins， Faulkner and Black‑White Relαtions， p. 234.
10. Lewis P. Simpson，Ike McCaslin and the Second Fall of 1¥在an，"Bear， Man， and God: Eight Approaches to William Faulkner's The Bear，" eds. Francis Lee Utley， Lynn Z. Bloom， and Arthur F. Kinney (2nd ed.; New York: Random House， 1971)， p. 204. Reprinted from Donald E. Stanford (edふNineEssays in Modern Literature， by permission of Louisiana State University Press. Originally titled Isaac McCaslin and Temple Drake:
40 The Order of Nature and Human History : The Fall of New World Man."
11. Frederick]. Hoffman， William Faulkner， p.28
12. Warren Beck， Faulkner (Madison: The University of Wisconsin Press， 1976)， pp. 427‑8.
13. Richard Chase， The Stone and The Cruci五xion: Faulkner's Light in August，" The Kenyon Review， X (Autumn， 1948)， 543.
14. Irving Howe， William Faulkner: A Critical Study (3rd， revised & ex・
panded ed.; Chicago: The University of Chicago Press， 1975)， p. 97. 15. Warren Beck， Faulkner， p. 405.
