Complete Works of William Faulkner

by William Faulkner

  So they even had an architect. He listened to them for perhaps a minute in Ratcliffe’s back room. Then he made an indescribable gesture and said, ‘Bah. You do not need advice. You are too poor. You have only your hands, and clay to make good brick. You don’t have any money. You don’t even have anything to copy: how can you go wrong?’ But he taught them how to mould the brick; he designed and built the kiln to bake the brick in, plenty of them since they had probably known from that first yellow morning too that one edifice was not going to be enough. But although both were conceived in the same instant and planned simultaneously during the same winter and built in continuation during the next three years, the courthouse of course came first, and in March, with stakes and hanks of fishline, the architect laid out in a grove of oaks opposite the tavern and the store, the square and simple foundations, the irrevocable design not only of the courthouse but of the town too, telling them as much: ‘In fifty years you will be trying to change it in the name of what you will call progress. But you will fail; but you will never be able to get away from it.’ But they had already seen that, standing thigh-deep in wilderness also but with more than a vision to look at since they had at least the fishline and the stakes, perhaps less than fifty years, perhaps — who knew? — less than twenty-five even: a Square, the courthouse in its grove the centre; quadrangular around it, the stores, two-storey, the offices of the lawyers and doctors and dentists, the lodge-rooms and auditoriums, above them; school and church and tavern and bank and jail each in its ordered place; the four broad diverging avenues straight as plumb-lines in the four directions, becoming the network of roads and by-roads until the whole county would be covered with it: the hands, the prehensile fingers clawing dragging lightward out of the disappearing wilderness year by year as up from the bottom of the receding sea, the broad rich fecund burgeoning fields, pushing thrusting each year further and further back the wilderness and its denizens — the wild bear and deer and turkey, and the wild men (or not so wild any more, familiar now, harmless now, just obsolete: anachronism out of an old dead time and a dead age; regrettable of course, even actually regretted by the old men, fiercely as old Doctor Habersham did, and with less fire but still as irreconcilable and stubborn as old Alec Holston and a few others were still doing, until in a few more years the last of them would have passed and vanished in their turn too, obsolescent too: because this was a white man’s land; that was its fate, or not even fate but destiny, its high destiny in the roster of the earth) — the veins, arteries, life- and pulse-stream along which would flow the aggrandisement of harvest: the gold: the cotton and the grain;

  But above all, the courthouse: the centre, the focus, the hub; sitting looming in the centre of the county’s circumference like a single cloud in its ring of horizon, laying its vast shadow to the uttermost rim of horizon; musing, brooding, symbolic and ponderable, tall as cloud, solid as rock, dominating all: protector of the weak, judiciate and curb of the passions and lusts, repository and guardian of the aspirations and the hopes; rising course by brick course during that first summer, simply square, simplest Georgian colonial (this, by the Paris architect who was creating at Sutpen’s Hundred something like a wing of Versailles glimpsed in a Lilliput’s gothic nightmare — in revenge, Gavin Stevens would say a hundred years later, when Sutpen’s own legend in the county would include the anecdote of the time the architect broke somehow out of his dungeon and tried to flee and Sutpen and his Negro head man and hunter ran him down with dogs in the swamp and brought him back) since, as the architect had told them, they had no money to buy bad taste with nor even anything from which to copy what bad taste might still have been within their compass; this one too still costing nothing but the labour and — the second year now — most of that was slave since there were still more slave owners in the settlement which had been a town and named for going on two years now, already a town and already named when the first ones waked up on that yellow morning two years back: — men other than Holston and the blacksmith (Compson was one now) who owned one or two or three Negroes, besides Grenier and Sutpen who had set up camps beside the creek in Compson’s pasture for the two gangs of their Negroes to live in until the two buildings — the courthouse and the jail — should be completed. But not altogether slave, the bound-men, the unfree, because there were still the white men too, the same ones who on that hot July morning two and now three years ago had gathered in a kind of outraged unbelief to fling, hurl up in raging sweating impotent fury the little three-walled lean-to — the same men (with affairs of their own they might have been attending to or work of their own or for which they were being hired, paid, that they should have been doing) standing or lounging about the scaffolding and the stacks of brick and puddles of clay mortar for an hour or two hours or half a day, then putting aside one of the Negroes and taking his place with trowel or saw or adze, unbidden or unreproved either since there was none present with the right to order or deny; a stranger might have said probably for that reason, simply because now they didn’t have to, except that it was more than that, working peacefully now that there was no outrage and fury, and twice as fast because there was no urgency since this was no more to be hurried by man or men than the burgeoning of a crop, working (this paradox too to anyone except men like Grenier and Compson and Peabody who had grown from infancy among slaves, breathed the same air and even suckled the same breast with the sons of Ham: black and white, free and unfree, shoulder to shoulder in the same tireless lift and rhythm as if they had the same aim and hope, which they did have as far as the Negro was capable, as even Ratcliffe, son of a long pure line of Anglo-Saxon mountain people and — destined — father of an equally long and pure line of white trash tenant farmers who never owned a slave and never would since each had and would imbibe with his mother’s milk a personal violent antipathy not at all to slavery but to black skins, could have explained: the slave’s simple child’s mind had fired at once with the thought that he was helping to build not only the biggest edifice in the country, but probably the biggest he had ever seen; this was all but this was enough) as one because it was theirs, bigger than any because it was the sum of all and, being the sum of all, it must raise all of their hopes and aspirations level with its own aspirant and soaring cupola, so that, sweating and tireless and unflagging, they would look about at one another a little shyly, a little amazed, with something like humility too, as if they were realising, or were for a moment at least capable of believing, that men, all men, including themselves, were a little better, purer maybe even, than they had thought, expected, or even needed to be. Though they were still having a little trouble with Ratcliffe: the money, the Holston lock-Chickasaw axle-grease fifteen dollars; not trouble really because it had never been an obstruction even three years ago when it was new, and now after three years even the light impedeless chip was worn by familiarity and custom to less than a toothpick: merely present, merely visible, or that is, audible: and no trouble with Ratcliffe because he made one too contraposed the toothpick; more: he was its chief victim, sufferer, since where with the others was mostly inattention, a little humour, now and then a little fading annoyance and impatience, with him was shame, bafflement, a little of anguish and despair like a man struggling with a congenital vice, hopeless, indomitable, already defeated. It was not even the money any more now, the fifteen dollars. It was the fact that they had refused it and, refusing it, had maybe committed a fatal and irremediable error. He would try to explain it: ‘It’s like Old Moster and the rest of them up there that run the luck, would look down at us and say, Well well, looks like them durn peckerwoods down there don’t want them fifteen dollars we was going to give them free-gratis-for-nothing. So maybe they don’t want nothing from us. So maybe we better do like they seem to want, and let them sweat and swivet and scrabble through the best they can by themselves.’

  Which they — the town — did, though even then the courthouse was not finished for another six years. Not but that they thought it was: complete: s
imple and square, floored and roofed and windowed, with a central hallway and the four offices — sheriff and tax assessor and circuit- and chancery-clerk (which — the chancery-clerk’s office — would contain the ballot boxes and booths for voting) — below, and the courtroom and jury-room and the judge’s chambers above — even to the pigeons and English sparrows, migrants too but not pioneers, inevictably urban in fact, come all the way from the Atlantic coast as soon as the town became a town with a name, taking possession of the gutters and eave-boxes almost before the final hammer was withdrawn, uxorious and interminable the one, garrulous and myriad the other. Then in the sixth year old Alec Holston died and bequeathed back to the town the fifteen dollars it had paid him for the lock; two years before, Louis Grenier had died and his heirs still held in trust on demand the fifteen hundred dollars his will had devised it, and now there was another newcomer in the county, a man named John Sartoris, with slaves and gear and money too like Grenier and Sutpen, but who was an even better stalemate to Sutpen than Grenier had been because it was apparent at once that he, Sartoris, was the sort of man who could even cope with Sutpen in the sense that a man with a sabre or even a small sword and heart enough for it could cope with one with an axe; and that summer (Sutpen’s Paris architect had long since gone back to whatever place he came from and to which he had made his one abortive midnight try to return, but his trickle, flow of bricks had never even faltered: his moulds and kilns had finished the jail and were now raising the walls of two churches and by the half-century would have completed what would be known through all north Mississippi and east Tennessee as the Academy, the Female Institute) there was a committee: Compson and Sartoris and Peabody (and in absentia Sutpen: nor would the town ever know exactly how much of the additional cost Sutpen and Sartoris made up): and the next year the eight disjointed marble columns were landed from an Italian ship at New Orleans, into a steamboat up the Mississippi to Vicksburg, and into a smaller steamboat up the Yazoo and Sunflower and Tallahatchie, to Ikkemotubbe’s old landing which Sutpen now owned, and thence the twelve miles by oxen into Jefferson: the two identical four-column porticoes, one on the north and one on the south, each with its balcony of wrought-iron New Orleans grillwork, on one of which — the south one — in 1861 Sartoris would stand in the first Confederate uniform the town had ever seen, while in the Square below the Richmond mustering officer enrolled and swore in the regiment which Sartoris as its colonel would take to Virginia as a part of Bee, to be Jackson’s extreme left in front of the Henry house at First Manassas, and from both of which each May and November for a hundred years, bailiffs in their orderly appointive almost hereditary succession would cry without inflection or punctuation either ‘oyes oyes honourable circuit court of Yoknapatawpha County come all and ye shall be heard’ and beneath which for that same length of time too except for the seven years between ‘63 and ‘70 which didn’t really count a century afterward except to a few irreconcilable old ladies, the white male citizens of the county would pass to vote for county and state offices, because when in ‘63 a United States military force burned the Square and the business district, the courthouse survived. It didn’t escape: it simply survived: harder than axes, tougher than fire, more fixed than dynamite; encircled by the tumbled and blackened ruins of lesser walls, it still stood, even the topless smoke-stained columns, gutted of course and roofless, but immune, not one hair even out of the Paris architect’s almost forgotten plumb, so that all they had to do (it took nine years to build; they needed twenty-five to restore it) was put in new floors for the two storeys and a new roof, and this time with a cupola with a four-faced clock and a bell to strike the hours and ring alarms; by this time the Square, the banks and the stores and the lawyers’ and doctors’ and dentists’ offices, had been restored, and the English sparrows were back too which had never really deserted — the garrulous noisy independent swarms which, as though concomitant with, inextricable from regularised and roted human quarrelling, had appeared in possession of cornices and gutter-boxes almost before the last nail was driven — and now the pigeons also, interminably murmurous, nesting in, already usurping, the belfry even though they couldn’t seem to get used to the bell, bursting out of the cupola at each stroke of the hour in frantic clouds, to sink and burst and whirl again at each succeeding stroke, until the last one: then vanishing back through the slatted louvres until nothing remained but the frantic and murmurous cooing like the fading echoes of the bell itself, the source of the alarm never recognised and even the alarm itself unremembered, as the actual stroke of the bell is no longer remembered by the vibration-fading air. Because they — the sparrows and the pigeons — endured, durable, a hundred years, the oldest things there except the courthouse centennial and serene above the town most of whose people now no longer even knew who Doctor Habersham and old Alec Holston and Louis Grenier were, had been; centennial and serene above the change: the electricity and gasolene, the neon and the crowded cacophonous air; even Negroes passing in beneath the balconies and into the chancery-clerk’s office to cast ballots too, voting for the same white-skinned rascals and demagogues and white supremacy champions that the white ones did — durable: every few years the county fathers, dreaming of baksheesh, would instigate a movement to tear it down and erect a new modern one, but someone would at the last moment defeat them; they will try it again of course and be defeated perhaps once again or even maybe twice again, but no more than that. Because its fate is to stand in the hinterland of America: its doom is its longevity; like a man, its simple age is its own reproach, and after the hundred years, will become unbearable. But not for a little while yet; for a little while yet the sparrows and the pigeons: garrulous myriad and independent the one, the other uxorious and interminable, at once frantic and tranquil — until the clock strikes again which even after a hundred years, they still seem unable to get used to, bursting in one swirling explosion out of the belfry as though the hour, instead of merely adding one puny infinitesimal more to the long weary increment since Genesis, had shattered the virgin pristine air with the first loud ding-dong of time and doom.

  SCENE I

  COURTROOM. 5.30 P.M. November thirteenth.

  The curtain is down. As the lights begin to go up:

  MAN’S VOICE (behind the curtain)

  Let the prisoner stand.

  The curtain rises, symbolising the rising of the prisoner in the dock, and revealing a section of the courtroom. It does not occupy the whole stage, but only the upper left half, leaving the other half and the bottom of the stage in darkness, so that the visible scene is not only spotlighted but elevated slightly too, a further symbolism which will be clearer when Act II opens — the symbolism of the elevated tribunal of justice of which this, a county court, is only the intermediate, not the highest, stage.

  This is a section of the court — the bar, the judge, officers, the opposing lawyers, the jury. The defence lawyer is Gavin Stevens, about fifty. He looks more like a poet than a lawyer and actually is: a bachelor, descendant of one of the pioneer Yoknapatawpha County families, Harvard and Heidelberg educated, and returned to his native soil to be a sort of bucolic Cincinnatus, champion not so much of truth as of justice, or of justice as he sees it, constantly involving himself, often for no pay, in affairs of equity and passion and even crime too among his people, white and Negro both, sometimes directly contrary to his office of County Attorney which he has held for years, as is the present business.

  The prisoner is standing. She is the only one standing in the room — a Negress, quite black, about thirty — that is, she could be almost anything between twenty and forty — with a calm impenetrable almost bemused face, the tallest, highest there with all eyes on her but she herself not looking at any of them, but looking out and up as though at some distant corner of the room, as though she were alone in it. She is — or was until recently, five months ago to be exact — a domestic servant, nurse to two white children, the second of whom, an infant, she smothered in its cradle five mon
ths ago, for which act she is now on trial for her life. But she has probably done many things else — chopped cotton, cooked for working gangs — any sort of manual labour within her capacities, or rather, limitations in time and availability, since her principal reputation in the little Mississippi town where she was born is that of a tramp — a drunkard, a casual prostitute, being beaten by some man or cutting or being cut by his wife or his other sweetheart. She has probably been married, at least once. Her name — or so she calls it and would probably spell it if she could spell — is Nancy Mannigoe.