3).The famous Yoknapatawpha Map also holds and shows many symbols. Such as the tiny, finite circle of Sutpen's Hundred that ends where it began, meaning that it survives and endures. The map itself is a lasting symbol of the redeeming power of art, like the novel which is such an integral part. It complements the title, which is interpreted as an ironic commentary on the Sutpen Family history. This is because the narrative parallels the biblical story of David and Absalom, with the emphasis on "revolt, incest, and fratricide" (Hagopian, Hamblin 1). The novel differs from the biblical story in that Faulkner's David is unable to feel love and compassion for his rebellious son, and Hagopian views this key difference as "the main point of the Sutpen story" (Hamblin 1). Functioning the same way as the title, the map extends the province of the novel beyond regional to universal, converting the ‘facts' of history into the ‘truths' of myths. They both show Faulkner's faith in triumph of art over the inevitable, downward spiral of history.The narrative structure throughout each chapter jumps back and forth between internal and external, back and forth between different characters' thoughts. Such as, in Chapter One the narration starts out external through Rosa, while in Chapter Two it goes from an external narrator, to a satirical voice of legend, followed by Mr. Compson. In Chapter Three the narrative continues with Mr. Compson with several interjections from an external narrator, and in Chapter Four the external narrator is focused through Quentin, changes to Mr. Compson, with the external narrator returning briefly. Chapter Five begins with Rosa, changes to the external narrator present in Quentin's thoughts, and then changes to dialogue between Quentin and Rosa. In Chapter Six the narrative remains with Quentin, changing from external, to conversation, to thoughts sporadically, while Chapter Seven mainly stays externa...
