Analysis of William Faulkners Nobel Prrize of Literarure Speech
1012 WordsMar 25th, 20135 Pages
English III AP 1st block
4 February 2013
Analysis of William Faulkner’s Noble Prize of Literature Acceptance Speech William Faulkner was an often misunderstood writer of many novels and short stories. ("William Faulkner’s Nobel Prize Acceptance Speech ") It was not until 1949 and after his death when he was given the Nobel Prize in Literature that people began to acknowledge him and his works. ("William Faulkner") In his Nobel Prize of Literature acceptance speech, at the city hall in Stockholm on December 10, 1950, Faulkner uses a powerful tone and effective rhetorical devices to convey his purpose. In his Nobel Prize of Literature acceptance speech, William Faulkner utilizes rhetorical devices such as…show more content…
This device helps him convey that people need to start writing about emotional conflicts with themselves because that alone can make good writing. He also uses a metaphor to compare the writing of something meaningful and important to something not when he states, “He writes not of the heart but of the glands”. This helps the effectiveness by comparing something major and meaningful such as the heart to something less meaningful and pity as a gland. These were effective by helping Faulkner relate to everyday situations and thing we are familiar in life therefore aiding him in connecting with his audience.
Faulkner uses syntactical strategies throughout his speech to assist him in communicating his message to his audience. In the third paragraph he emphasizes a syntax device known as anaphora, when stating, “He must learn them again… He much teach himself… He writes not of love…He writes not of the heart…”.The anaphora helps Faulkner be effective in his argument by the repetition of words to help him get his view of things across to the audience. To also succor his effectiveness he uses polysyndeton, which is used to draw the audience’s attention therefore adding the effect of persistence and intensity to help keep his audiences attention, making his speech effective. An example of polysyndeton is when he declares “love and honor and pity and pride and compassion and sacrifice” This quote helps signify that authors need to write from their soul and
"No matter how piercing and appalling his insights, the desolation creeping over his outer world, the lurid lights and shadows of his inner world, the writer must live with hope, work in faith."
"I decline to accept the end of man."
William Faulkner: Nobel Prize Speech
December 10, 1950
"All his life William Faulkner had avoided speeches, and insisted that he not be taken as a man of letters. 'I'm just a farmer who likes to tell stories.' he once said. Because of his known aversion to making formal pronouncements, there was much interest, when he traveled to Stockholm to receive the prize on December 10, 1950, in what he would say in the speech that custom obliged him to deliver. Faulkner evidently wanted to set right the misinterpretation of his own work as pessimistic. But beyond that, he recognized that, as the first American novelist to receive the prize since the end of World War II, he had a special obligation to take the changed situation of the writer, and of man, into account."
Ifeel that this award was not made to me as a man, but to my work--a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.
Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only one question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid: and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, and victories without hope and worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.
Until he learns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.