The Sound and the Fury
History's Fury: Henri Bergson and Friedrich Nietzsche Shed Some Critical Light on The Sound and the Fury's Jason Compson
I remember the first time I really heard classical music. As long as I can remember I have loved music, but growing up, no matter how many times my parents dragged me, kicking and screaming, to the symphony, or my piano teacher tried to teach me a Mozart piano sonata, I was overcome with boredom. Nothing about this collection of instruments, or notes, no matter how intricate, how subtle, how stirring a piece was, meant anything to me. I remember that my only joy at the symphony was to wait until a movement was over, praying that some fool would clap when everyone else knew full well that we had to wait until the entire (seemingly unending) piece was done. Even as I got older and began to realize that there must be something to these musicians who those I respected deemed geniuses, I never could get a hold of the music, something eluded me. Last year I took Music theory, I began to love the notes and the cadences when on the page, but still when put together my only appreciation was in my ability to distinguish a Plagal cadence from a half cadence or a major scale from a minor one. Then one day my roommate played for me her favorite piece of music, Beethoven's La Pathetique. All of a sudden, it made sense, those years of...
Join Now to View Premium Content
GradeSaver provides access to 771 study guide PDFs and quizzes, 5199 literature essays, 1578 sample college application essays, 204 lesson plans, and ad-free surfing in this premium content, “Members Only” section of the site! Membership includes a 10% discount on all editing orders.
Already a member? Log in