Ike's Hunting Trip

A story which has such foreboding lines in its early stage, and which features guns and hunt club and the suggestion that this hunting trip would be the protagonist's "last"--such a story entrust likely be check up onn by the attentive reader as one which will end in delirium, probably effect involving the protagonist.

In fact, violence does take place, plainly the violence is of a non-physical nature. Yes, a deer is hot, but the shooting does not adopt the protagonist. That shooting is used as a metaphor itself by Faulkner to illustrate the vulnerability not of a deer but of a human being beingness, or two human beings.

The violence at the heart of the story is the violence done to Ike by the metamorphoses which he has experienced and is still experiencing. Nothing is the same as it was. Nature is being pillaged by man and man's drear civilization. The traditional values of the ultimo are being bulldozed forth just as those traditional values are being bulldozed away. Things are not the same and they will never be the same way once more, thinks Ike, but this does not mean that he has let go of his dream of the past.

To the contrary, one of the major aspects of the social organisation of the story in terms of Ike's character development, or change at least, if not development, is th

Ike is sure enough a tragic figure, as Fisher notes, but in like manner as Fisher notes, Ike's significance is diminished simply because he is incapable of an action, beyond the symbolic (money, one touch, the horn), which would deliver himself (much slight the woman) from the suffering of the moment:

The woman's statement that Ike has forgotten about get it on also suggests that the hunt for have sex should be more inhering than external--that it is a matter of keeping in mind that love is built into the human being and only calls for the individual to believe that that love is the essence of life.

Longing (or hunting) for idealized abstractions in the past (or in the future) is a guarantee that the individual will so lose his way on the hunt and forget that it is the human connection of love which is the source of life, and not judging others jibe to ideal standards.

Fisher, Richard. "The Wilderness, the Commissary, and the Bedroom." English Studies, 44 (1963), 19-28.

However, Ike does at least go about to redeem himself, as described above. Whatever the reader's reaction competency be, the woman herself is not much impressed with Ike's gifts or with his undertake to give her advice:

Yet, again, Ike is not a bad, not an evil man. When he recovers enough to see that the situation calls for more than declaring her race with a racist word he likely does not see as racist, Ike offers the money, but he must know it is not enough, that no amount of money is enough to replace many human connection:

Brooks, Cleanth. William Faulkner: The Yoknapatawpha Country. New Haven: Yale U P, 1963.

However, this cutaneous senses is obviously frightening in some way to Ike: He drew the hand back beneath the blanket again: he said harshly now: "It's a boy, I reckon. . . ." (Faulkner 659). The harshness in his voice is his way of disguising what he is feeling, because he is likely uncertain of what he is feeling, although he fears that whatever it is he should not be feeling it.

At fir
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