Abstract
My thesis, put as simply as possible, is that Benjy's section of The Sound and the Fury is a special handling of the narrative archetype of romance. To see how this can be so it is necessary only to see the archetypal conceptions of innocence Miss Scott presents in the preceding comments, for it is Benjy's innocence and the innocence of his world that begin to identify his narrative as romance, the literary form closest to the naivete of childhood and to the wish-fulfillment dream.
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