The Theme and Structure of Faulkner's The Hamlet

Abstract

William Faulkner's novel The Hamlet has received less critical attention and, perhaps, less critical intelligence than any other of his major works. The reasons for this neglect are rather easily stated. Published in 1940, Faulkner's only significant novel between Absalom, Absalom! in 1936 and Go Down, Moses in 1942, The Hamlet differs considerably from the novels of the “major phase,” 1929–1936. It comes at a point in the development of the Yoknapatawpha Cycle when the early conflict between legend and reality which so disturbed Quentin Compson had been largely resolved, and it is concerned with themes that had earlier been of peripheral interest. It presents as protagonists a class of Yoknapatawphans who are relative newcomers to the cycle. These things together—the lessening of tension and the utilization of new material—are reflected in the unique tone of The Hamlet, which led Malcolm Cowley to entitle his review of the novel “Faulkner By Daylight.” Further, since the novel is leisurely in its narrative method and relatively lucid in its style, it does not at first glance seem to demand or merit the sort of exhaustive readings which have been given, say, to The Sound and the Fury. Finally, with the major exception of Robert Penn Warren, almost none of the critics has been willing to recognize the book as a novel at all. Cowley speaks of its structure as that of “beads on a string.” John Arthos calls the book Faulkner's “most remarkable writing” but adds that it “falls into at least four separate stories… there is no real unity.” O'Connor, Howe, Campbell and Foster have all dealt with and appreciated various aspects of the novel but it remains the chief enigma of the cycle.