Born in 1897 in Mississippi, William Faulkner knew blacks as servants and workers, not as equals. However, sharing the same space with black people led him to a deeper understanding of their situation and circumstances. Despite his negative view of black society, in The Sound and the Fury Faulkner reverses the classic allegory of “black = bad” and “white = good”. The blacks depicted in the novel are generally more concerned with self-respect and morality, while the whites are concerned with self-centeredness and overwhelming pride. As a result, the portrayal of the black community in the novel serves as a contrast to the portrayal of the deteriorating Compson family. As described by Quentin, black characters are simply “opposite reflections” of white society (86). Similarly, Dilsey, Roskus, and the Deacon are used by Faulkner to accentuate the corrupt and nefarious values ​​of their white counterparts. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Of these characters, Dilsey is particularly important. Throughout the novel, Dilsey upholds a moral standard that contrasts sharply with Caroline Compson's proud and self-centered nature. Likewise, she proves to be more of a mother to the Compson children than to their own mother. Although she does far more work than any other character and remains devoted to the Compsons despite their lack of appreciation, she is reduced to a "half-dead old nigger" according to Jason (185). If Quentin claims that blacks are simply "reverse reflections" of their white counterparts, then it can certainly be said that the parallels between Mrs. Compson and Dilsey are undeniable (86). While Mrs. Compson is a self-pitying hypochondriac, consumed by Taking pride in her family name Bascomb, Dilsey is a genuinely noble woman who seeks neither the title of lady nor that of servant. Interestingly, although Mrs. Compson strives to preserve her family name and traditional values Southern, it is in fact Dilsey who comes closest to representing a Southern woman despite the color of her skin Where Mrs. Compson fails as a matriarch, Dilsey steps in to care for the Compson children as well as her own before Quentin's suicide, Quentin laments, "if I had had a mother, I might say Mother Mother" (172) Yet, instead of reflecting on his mother's reaction to his death, he instead anticipates "what a sinful waste Dilsey would say." Even in a moment of grave distress, Quentin returns to the comfort of Dilsey. In conclusion, it is particularly interesting how Faulkner overturns traditional expectations of black and white women. Where white Southern women were historically expected to care for their families unconditionally and uphold a standard of femininity, Caroline Compson fails miserably. Instead, it is the black servant who chooses to care for the Compson children. In short, Faulkner uses Dilsey to highlight the corrupt and deteriorating values ​​of the Compson family. Despite her skin color, by the end of the novel she becomes a symbol of the renewal of traditional Southern values ​​and the Compsons' only hope for family preservation. Although the novel only briefly involves Dilsey's husband, Roskus, the few instances in which we meet him is enough to provide an indication of his character being completely different from that of Mr. Compson. While Mr. Compson lavishes himself with "a decanter of whiskey and a litter of dog-eared Horaces, Livys, and Catalluses," Roskus remains humble, confident, and genuine (330).Despite having "too strong rheumatism to do more than is necessary," Roskus perseveres and, like Dilsey, does most of the work for the Compson family (9). But unlike Dilsey, Roskus recognizes the inevitable disintegration of the once-aristocratic Compsons. Repeatedly mentioning "there's no luck in this place", Roskus is constantly disgusted by the Compson family's behavior towards the Compson children. Prompted by the birth of their mentally handicapped son, the Compsons are increasingly concerned about preserving their family name. For example, the decision to change their son's name from Maury to Benjy only further demonstrates to Roskus that the family is doomed; he repeats once again that “there is no luck in this place… I saw it before but when they changed its name I knew about it” (29). In Roskus' mind, God will soon repay the Compsons for their sins. Although Roskus's preoccupation with bad luck and superstition plagues his mind, he ultimately ends up foreseeing the decline of the Compson family long before any other character. A loving, God-fearing father, Roskus resents the way both Compson parents are "raising [the children] not to know [their] mother's name" (31). Where Mr. Compson is an unsuccessful parent, Roskus cares for and forgives his children. Unfortunately, Mr. Compson is no better suited to be head of the household than his deplorable wife. He is a weak man, completely unaware of his family's needs due to his constant drunken stupor, too concerned with daydreaming about the life he has not fulfilled. Much like his wife, Mr. Compson wallows in self-pity, viewing himself as a victim of circumstances over which he feels he has no control. Yet, Roskus, a black servant paralyzed by genuine physical ailments, works continuously and hopes to improve his life. Where Mr. Compson is passive in his suffering, Roskus rises above his situation and works to better himself. Once again, the stereotypical male roles of the period were reversed by Faulkner. While the white male is traditionally expected to live up to patriarchal expectations, in this case it is Roskus who surpasses Mr. Compson's abilities. While the previously mentioned parallels highlight the differences between the two characters, the relationship between Quentin and the Deacon accentuates their similarities. Although the deacon tries to project a pseudo-image of himself, Quentin works to see beyond his projections. Both outsiders within their society, Quentin and the Deacon are attracted to each other's "otherness," ultimately leading Quentin to come to the conclusion that "a nigger is not so much a person as a form of behavior; a sort of an opposite reflection of the whites he lives among” (86). Forced to reevaluate his traditional Southern values ​​while at Harvard, Quentin gains a new perspective on the deterioration of the Compson family. by Gerald Bland, Quentin slowly begins to discern the unfavorable similarities between his own family and the Blands, as well as the harsh treatment of their "niggers." On page 99, Quentin confesses to having glimpsed Roskus in the Deacon and begins to feel a twinge of guilt over Southern injustices to the black community Despite the deacon's obvious lies about attending divinity school, Quentin notes the "quality" during the conversation. worn and gentle of his nigger hands" and rejects his lie because "he had been a guide, a mentor, and a friend to countless crops of innocent and lonely freshmen." …he smelled no more than anyone else to the nostrils of heaven” (98). This is one of the most important moments (97).