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Barn Burning

캐릭터&작품 분석

by William Faulkner

Sarty

Hit's big as a courthouse he thought quietly, with a surge of peace and joy whose reason he could not have thought into words, being too young for that: They are safe from him.

the smell and sense just a little of fear because mostly of despair and grief, the old fierce pull of blood. He could not see the table where the Justice sat and before which his father and his father's enemy (our enemy he thought in that despair; ourn! mine and hisn both! He's my father!) stood,

현실 인식 아직 무지함

(드 스페인 저택 긍정적 묘사)

빈곤하고 절망적 상태

우리 가족 vs. "적"이라 인지

the terrible handicap of being young, the light weight of his few years, just heavy enough to prevent his soaring free of the world as it seemed to be ordered but not heavy enough to keep him footed solid in it, to resist it and try to change the course of its events.

His father, stiff in his black Sunday coat donned not for the trial but for the moving, did not even look at him. He aims for me to lie, he thought, again with that frantic grief and despair. And I will have to do hit.

Later, twenty years later, he was to tell himself, "If I had said they wanted only truth, justice, he would have hit me again." But now he said nothing.

Sarty 내적 갈등:

기존 사회 기득권의 정의 vs. Abner의 정의

자신의 아이덴티티 확립 vs. 혈연

(자신의 나약함 인식)

Sarty와 화자의 관계(Adorno의 '낯설게 하기')

His father mounted to the seat where the older brother already sat and struck the gaunt mules two savage blows with the peeled willow, but without heat. It was not even sadistic; it was exactly that same quality which in later years would cause his descendants to over-run the engine before putting a motor car into motion, striking and reining back in the same movement.

Later, twenty years later, he was to feel himself, "If I had said they wanted only truth, justice, he would have hit me again." But now he said nothing. He was not crying. He just stood there. "Answer me," his father said.

다층적 화자: 어린 Sarty 관점 서술/어른 시점 화자 개입

시간적 틀에서 탈피

마치 입체파 그림처럼 다각도에서 진실 접근이 가능하게 함

진실의 상대성/자의성을 나타냄

But such as it does play the role of a kind of "defamiliarization," to use a formalist concept that has been prominent in the theoretical discourse surrounding modernism. Modernist writing, through its autonomous formal constructions, places us at a "distance" from society, making it strange, whereby we come to see its reverse, but true, mirror image, its negativity. (Eysteinsson, p319)

de Spain

Sarty와 Abner의 관계성

아버지: 스승 vs 억압

1. 스승과 제자의 관계성

His father struck him with the flat of his hand on the side of the head, hard but without heat, exactly as he had struck the two mules at the store, exactly as he would strike either of them with any stick in order to kill a horse fly, his voice still without heat or anger: "You're getting to be a man. You got to learn. You got to learn to stick to your own blood or you ain't going to have any blood to stick to you. Do you think either of them, any man there this morning would? Don't you know all they wanted was a chance to get at me because they knew I had them beat? Eh?"

▶ 생존을 위해 동포들의 고통(사회 현실, 모순)을 계승하라는 가르침

2. 혈연=억압

This the old habit, the old blood which he had not been permitted to choose for himself, which had been bequeathed him willy nilly and which had run for so long (and who knew where, battening on what of outrage and savagery and lust) before it came to him. I could keep on, he thought. I could run on and on and never look back, never need to see his face again. Only I can't.

▶ Abner의 혈연중시가 사티의 정체성 확립을 가로막음

시대상

Abner

작가 소개

Abner

That niggard blaze was the living fruit of nights passed during those four years in the woods hiding from all men, blue and gray, with his strings of horses (captured horses, he called them.)

"Snopes, . . . Leave this country and don't come back to it."

His father spoke for the first time, his voice cold and harsh, level, without emphasis: "I aim to. I don't figure to stay in a country among people who..." he said something unprintable and vile, addressed to no one.

William Faulkner (1897-1962)

▶ "wolflike independence"

▶ 사회 이데올로기에서 배제되어 있음

▶ 방화 등의 반사회적 행동을 함

▶ 혈연 중시

자신만의 정의(사회 이데올로기에 대한 자신만의 대안=생존의지)가 있음

사회의 정의 vs Abner만의 정의

"You're getting to be a man. You got to learn. You got to learn to stick to your own blood or you ain't going to have any blood to stick to you. Do you think either of them, any man there this morning would? Don't you know all they wanted was a chance to get at me because they knew I had them beat? Eh?"

Later, twenty years later, he was to tell himself, "If I had said they wanted only, truth, justice, he would have hit me again."

'불'의 의미

And older still, he might have divined the true reason that the element of fire spoke to some deep mainspring of his father's being, as the element of steel or of powder spoke to other men, as the one weapon for the preservation of integrity, else breath were not worth the breathing, and hence to be regarded with respect and used with discretion.

"a small, neat, niggard almost, shrewd fire":

억압받는 현실 아래서 그들의 '보잘것없는' 존재성을 표출하는 방식

Abner가 개인적 자존심과 정체성을 지키고 세상에 대항해서 싸울 수 있는 유일한 무기

자신과 가족의 생존을 위협하는, 남부 사회의 구조적 모순에 대한 저항

destructive creation/creative destruction으로서의 방화 행위

All the Enlightenment imagery about civilization, reason, universal rights, and morality was for naught. The eternal and immutable essence of humanity found its proper representation in the mythical figure of Dionysus: 'to be at one and the same time: "destructively creative" and "creatively destructive." (Harvey, p273)

If the 'eternal and immutable' could no longer be automatically presupposed, then the modern artist had a creative role to play in defining the essence of humanity. If 'creative destruction' was an essential condition of modernity, then perhaps the artist as individual had a heroic role to play (even if the consequences might be tragic). (Harvey, p276)

불(방화 행위)는 모든 물질 기반을 파괴시킴과 동시에 Abner와 같은 '하찮은' 인간의 존재를 표출하는 방식

기존의 사회 이데올로기를 파괴하려는(destructive) 시도임과 동시에 자신만의 정체성,

정의의 존립(creation)을 이루고자 하는 시도

반사회적인 것의 사회성 (Adorno의 부정적 미학)

"Rather, it is social primarily because it stands opposed to society."

This function is facilitated through the autonomous qualities "rather than obeying existing social norms and thus proving itself to be 'socially useful' - art criticizes society just by being there. Pure and immanently elaborated art is a tacit critique of the debasement of man by a condition that is moving toward a total-exchange society where everything is a for-other." The asocial aspect of art "is the determinate negation of a determinate society." (Eysteinsson, p316)

Modern art has no interest in a direct reflection of the social surface; it does not "want to duplicate the facade of reality," but "makes an uncompromising reprint of reality while at the same time avoiding being contaminated by it." (Eysteinsson, p317)

Art holds forth the image, rejected by rationality, of its purpose and exposes its other, its irrationality.

(Eysteinsson, p317)

▶ 기존 이데올로기에서 벗어난 자율성에 의해 예술의 사회성 보장 (예술의 양면성)

▶ 현실에 대한 부정적 모방(약자 착취 구조), 기존 체제의 비이성성 드러냄

▶ 무가치함의 무의미성(사회 이데올로기에 배제된 자들)에 주목해 사회적 화두를 던짐

▶ 사회적 억압, '틀'에 대한 저항의 몸짓

"That's sweat. Nigger sweat. Maybe it ain't white enough yet to suit him. maybe he wants to mix some white sweat with it."

de Spain

Harris

자영농

대지주

▶ 19세기 말엽 미국 남부에서는 농촌경제가 어려워짐.

▶ 다수의 자영농들과 소지주들이 생계를 유지할 수 없어서

소작농으로, 농업 노동자로 전락.

▶ 1930년대 경제 공황과 산업화의 여파가 농촌에까지 미침.

▶ 정부는 휴경에 대한 대가로 농장주들에게만 보조금을 지급.

부유한 지주와 소작농간의 빈부격차 및 갈등은 날로 커짐.

▶ 소작하던 작은 땅마저 빼앗긴 1500명의 소작농들의 연좌농성.

소작농들이 불만을 표출하는 방식으로서 헛간에 불을 지르는

행위가 유행.

Abner

1897년 미시시피 주 뉴올버니 출생

미시시피 주 옥스퍼드에서 생애의 대부분을 보냄

미국 남부 문학 대표작가

대표작: 『성역』, 『사토리스』, 『음향과 분노』, 『8월의 빛』,

『압살롬, 압살롬!』, 『촌락』

실험적인 문체 사용

(의식의 흐름 기법, 연대기적 서술 탈피)

소작농

영세농민들의 주요 저항수단 = ‘헛간방화’

"I reckon I'll have a word with the man that aims to begin to-morrow owning me body and soul for the next eight months."

시대상의 반영과 '현실의 영웅화'

모더니티: 기존 역사적 조건에 대한 탈피, 파괴

& 모더니티 내부의 파편화와 내면적 파열의 끊임없는 과정

(Harvey, p269)

모더니즘: 파편화, 일시적, 총체적 혼돈 속에서 영원불변의 것을 탐색하는 행위

(Harvey, p269-270)

보들레르가 정의한 'artist': 도시의 삶에서 평범한 사물에 주의를 기울이고,

그 일시적 특성을 간파하는 동시에 그들의 '찰나적 순간

(passing moment)'로부터 영원성을 뽑아내는 사람

(Harvey, p277) → "현실의 영웅화"

"responding to the scenario of our chaos"

▶ <Barn Buring>은 당시 미국 남부의 계층 격차와 갈등(=transient, passing

moment)을 Sarty라는 소년의 순수하고 이질적인 시각을 통해 더욱 극단적이고

혼란스럽게 묘사함으로써 ‘현실을 영웅화’하는 모더니스트 예술작품의 역할을 수행

결론: Sarty의 성장 여부

줄거리

Father. My father, he thought. "He was brave!" he cried suddenly, aloud but not loud, no more than a whisper: "He was! He was in the war! He was in Colonel Sartoris' cav'ry!" not knowing that his father had gone to that war a private in the fine old European sense, wearing no uniform, admitting the authority of and giving fidelity to no man or army or flag, going to war as Malbrouck himself did: for booty - it meant nothing and less than nothing to him if it were enemy booty or his own.

Sarty

숲으로 떠남

이사

치안재판2

(Abner vs.

de Spain)

치안재판1

(Harris vs. Abner)

헛간방화2

(de Spain)

de Spain

저택 방문

헛간방화1

(Harris)

아버지 영웅화: 미성숙한 현실 인식

he springing up and into the road again, running again, knowing it was too late yet still running even after he heard the shot and, an instant later, two shots, pausing now without knowing he had ceased to run, crying "Pap! Pap!,"

총소리: 사회에 대한 부정적 인식 막연히 싹틈

에피소드 1:

이 작품은 치안재판을 하는 장면에서 시작한다. Abner가 맡아서 기르고 있는 돼지가 이웃인 Harris의 밭을 헤치는 일이 반복되자 Harris는 그 돼지를 잡아두고, Abner에게 돼지보관료를 요구한다. 그날 밤 Harris의 헛간에 불이 나자 Harris는 방화범이 Abner라며 고발했다. 방화의 증거는 밝혀지지 않았으나 그 마을을 떠날 것을 명령받은 Abner는 가족을 데리고 대지주 de Spain의 마을로 이사한다.

에피소드 2:

조금만 주의하면 빗겨갈 수 있는데 Abner는 굳이 말똥을 밟고 가더니, de Spain의 대저택 현관에 깔린 고급 양탄자에다가 발자국을 남기고, 이에 대해 de Spain은 큰 대가를 요구한다. 이것에 불만을 품은 Abner는 재판을 신청하고 재판에서 de Spain이 요구한 것의 반 정도를 판결 받았지만, Abner는 이를 참을 수가 없다. Abner가 또 헛간에 불을 지르려 하자 Abner의 아들 Sartty가 de Spain의 집으로 달려가 이를 알려주고 숲으로 달아나는데서 작품은 끝이 난다.

"Ain't you going to even send a nigger?" he cried. "At least you sent a nigger before!"

자신을 억압한 아버지의 정의(혈연)와 자신이 옳다고 믿는 것(기존 도덕 관념) 사이에 생긴 내적 갈등을

말로 표출함으로써 자아정체성이 싹틀 수 있는 계기가 됨

결론: Sarty의 성장 여부

I felt that an epoch was ending, which has not only includes the nineteenth century, but gone far back to the end of the Middle Ages, to the loosening of scholastic ties, the emancipation of the individual, the birth of freedom. . . . This was the epoch of bourgeois humanism. And I felt as I say that its hour had come; that a mutation of life would consummated; the world would enter into a new, still nameless constellation. (Eysteinsson, p311)

The slow constellations wheeled on. It would be dawn and then sun-up after a while and he would be hungry. But that would be to-morrow and now he was only cold and walking would cure that. His breathing was easier now and he decided to get up and go on, and then he found that he had been asleep because he knew it was almost dawn, the night almost over. . . . He got up. He was a little stiff, but walking would cure that too as it would the cold, and soon there would be the sun. He went on down the hill, toward the dark woods within which the liquid silver voices of the birds called unceasing - the rapid and urgent beating of the urgent and quiring heart of the late spring night. He did not look back.

▶ 부정적 과거가 종말을 고하고 새로운 세계가 도래할 것

▶ 결론: 현재 Sarty의 현실 인식에는 한계가 존재하지만 앞으로의 성장 가능성을 열어두고 있음