Quentin’s treatment of his sister, Caddy, is symbolic of both white nativism and the notion of stereotypical Southern respectability. This is evident not only in his desire to either keep her pure or erase her and her perceived sins entirely, but also in Faulkner’s incest subplot between the two siblings. Quentin’s desire to marry her to “the same” speaks to his motive of keeping the blood pure, as it were, in more ways than one. He wants to keep Caddy pure both in the moralistic sense and in the sense that he does not want her marrying outside the family at all. He wants to control her to the point where she is legally under his thumb in perpetuity, and he wants to keep pure the blood of a family he still considers to be a proper, respectable example of Southern greatness. In “Whose America? Faulkner, Modernism, and National Identity”, John T. Matthews speaks to the type of white nativism that plagued the United States in the 1920s: “For nativists, American identity came to be understood as something one inherited by blood rather than acquired through citizenship” (Matthews 70). As in many European royal houses who sought to keep their lines pure through inbreeding, this solution could not sustain itself, nor could most changing societies sustain such symbols of social disparity. In fact, Quentin views his family in much the same way as these great European houses: as a great line which must be sustained at any cost. However, much like these royal houses (particularly at the beginning of the 20th-century and following World War I), the Compson family’s years as the pinnacle of Southern society are decidedly behind them.

Quentin sees Caddy (and women in general) as commodities to be protected either because they cannot or will not protect themselves. They have the potential to carry on the genetic “pure” line, and, if left to their own devices, can easily sully that line. Quentin, like his father, believes that women have an instinctive ability to be drawn astray, and they must be watched and controlled in order to protect the family honor and legacy, as well as to protect them from themselves. He feels Caddy’s sexual liaisons as a harsh betrayal and bemoans the behavior of “bitches”. This obsession with keeping the family line pure is reminiscent of American attitudes toward immigration at the time. As Matthews points out, “American nativism was hostile to internal minorities on the basis of their foreign or un-American connections” (Matthews 70). He draws a parallel between Caddy’s love life and what America should be—which, in his opinion, is more like the South (respectable, white, insulated). Caddy’s marriage and sexual liaisons are not respectable and bring “foreign” blood into the Compson family. Caddy’s betrayal is therefore compounded by her introduction of “un-American connections” into the family.

Quentin is obsessed with time and his family in its “prime”. His constant focus on watches and how everything but the sound of the ticking fades away speaks to his awareness of the rapid movement of time; and his stepping on his watch (whether on purpose or by accident—and, therefore, either knowingly of subconsciously) speaks to his desperate resolve to ignore the passing of time, or to freeze it. This is also evidenced by the fact that he does not care what the clocks in the window of the repair shop actually say, only whether or not they are “right”. He is more interested in the world subscribing to his idea of right than he is subscribing to reality.

I would like to zero in on a quote occurring twice within the stream of consciousness section appearing toward the end of Quentin’s narrative, “June Second, 1910,” in The Sound and the Fury. During an imagined conversation with his father in which Quentin falsely confesses to committing incest with his sister Caddy, Quentin’s father states that “every man is the arbiter of his own virtues” (176). Although the meaning of this statement (and Quentin’s section as a whole) is still not completely clear to me, the quote evokes for me the dueling nature of Quentin’s thoughts as he approaches his death (his own moral code and his love for his sister in opposition to social mores) and provides insight into societal attitudes of the time regarding women’s sexuality.

Quentin’s final internal monologue is bookended by the phrases “The three quarters began. The first note sounded, measured and tranquil, serenely peremptory, emptying the unhurried silence” and “The last note sounded. At last it stopped vibrating and the darkness was still again” (176; 178). These markers usher in and out the tumult of thoughts accompanying Quentin’s final preparations for his suicide and indicate the contrast between the outer world and his inner turmoil. Toward the beginning of this section appears the first instance of the statement at hand: “every man is the arbiter of his own virtues,” directly followed by “whether or not you consider it courageous is of more importance than the act itself than any act otherwise,” perhaps in reference to Quentin’s decision to commit suicide (176). Providing additional emphasis, Quentin’s father repeats the statement toward the end of the section: “every man is the arbiter of his own virtues but let no man prescribe for another mans wellbeing” (178). Quentin’s father appears to be advocating for individuals’ ascription of meaning to take precedence over the meanings delineated by society.

Although an aspirational statement, Quentin’s father’s assertion doesn’t otherwise ring true for me, since while it is true that societal values are simply constructions, the extent to which one can define one’s own virtues and have these definitions mean anything in society varies greatly dependent on one’s gender, race, etc. Such descriptive power appears to be reserved for men like Quentin and his father. Rather than being simply an abstract concept to puzzle over, this issue for Caddy is rooted in her lived experience. Although Caddy does indeed define and live by her own standards by freely expressing her sexuality, there is a point at which her autonomy ends: once she is “found out” by her husband when he realizes that she is pregnant, her personal standards move her beyond the boundaries of acceptable femininity of the time and she is punished severely through permanent separation from her daughter and home (as enforced by her own brother, Jason). Furthermore, although Caddy’s loss of her virginity and her subsequent promiscuity do help to precipitate the downfall of the Compson family, the person whom these events affect most harshly is Caddy herself, a fact that is shrouded within Quentin’s thoughts. Thus, Caddy certainly does not appear to be the arbiter of her own virtues.

However, Quentin himself is also unable to extract himself from the values that society thrusts upon him and Caddy. Based on descriptions of their relationship appearing throughout Quentin’s section, Quentin and Caddy appear to be quite close; they can perhaps even be seen as doubles in a sense, as made apparent within Quentin’s internal monologue when he describes them as fusing into one entity: “if people could only change one another forever that way merge like a flame swirling up for an instant then blown cleanly out along the cool eternal dark” (176). Quentin seems to view Caddy’s struggles as intertwined with his own and perhaps sees them as encapsulating the general clash of individuals against stringent societal norms. This thought of Quentin’s may also indicate, however, that despite their closeness, Quentin is unable to see Caddy fully: he seems to have trouble thinking of her as a whole person who is separate and distinct from himself. The fractured manner in which Quentin sees Caddy is reiterated for the reader through the fact that we are never granted access to Caddy’s own thoughts. Instead, we view them through other, male, characters’ eyes such as Quentin’s, and this lens through which Caddy’s and Quentin’s own experiences are filtered is that of society, a lens that Quentin cannot quite set aside. Quentin grapples with this complexity until almost the moment of his suicide.