...Mink "equal to any, good as any, brave as any, being inextricable from, anonymous with all of them: the beautiful, the splendid, the proud and the brave,...unhomed angels, the scornful and graceless seraphim." 81 With these lines, which must surely be viewed not simply in relation to Mink's reclamation but as...

...them, equal to any, good as any, brave as any, being inextricable from, anonymous with all of them: the beautiful, the splendid, the proud and the brave,...top itself among the shining phantoms and dreams." The passage reminds us of what is at the heart of all of Faulkner's fiction, the grand challenge to...

...in his almost mythical interpenetration with the earth, joins the immemorial and innumerable dead: “the beautiful, the splendid, the proud and the...unhomed angels, the scornful and graceless seraphim.” 3 ° Appearing in works from the beginning of his career to the end, functioning in different contexts,...

...his almost mythical interpénétration with the earth, joins the immemorial and innumerable dead : "the beautiful, the splendid, the proud and the brave,...unhomed angels, the scornful and graceless seraphim." 3 ' Appearing in works from the beginning of his career to the end, functioning in different contexts,...

...all of them”), until the final phrasing loses Mink almost entirely in high Faulknerian rhetoric: “The beautiful, the splendid, the proud and the...unhomed angels, the scornful and graceless seraphim” (435—36). “NEciRo”/”NIGGER”. One signal of mingled speech in The Mansion, and elsewhere in...

...names that Mink could never have heard of. Those with whom Mink is now “anonymous” include “Helen and the bishops, the kings and the unhomed angels, the scornful and graceless seraphim” (p. 436). But if Faulkner is putting words into Mink's dying mouth, it is easy to forgive him in this...

...them, equal to any, good as any, brave as any, being inextricable from, anonymous with all of them; the beautiful, the splendid, the proud and the brave,...among the shining phantoms and dreams which are the mile stones of the long human recording—Helen and the bishops, the kings and the unhomed angels,...

...recast." 24 In contrast, Faulkner's cosmos is aristocratic, hierarchical, sublime—the realm of "Helen and the bishops, the kings and the unhomed angels, the scornful and graceless seraphim." This kind of transcendent glory neither solves diurnal labor-management problems nor projects a proletarian...

...respectable, not productive. Linda exists between the mundanity of Jefferson and the poetic realm of "Helen and the bishops, the kings and the unhomed angels, the scornful and graceless seraphim"; she also exists in the realm of product design, where grids, graphs, averages, and pictograph figures...

...them, equal to any, good as any, brave as any, being inextricable from, anonymous with all of them: the beautiful, the splendid, the proud and the brave,...dreams which are the milestones of the long human recording— Helen and the bishops, the kings and the unhorned angels, the scornful and graceless seraphim."...