The Sound and the Fury unfolds in four parts – Benjy’s disjointed narrative (Holy Saturday – April 7th, 1928), Quentin’s last day before suicide (June 2, 1910), Jason’s clear and cruel tale (Good Friday – April 6th, 1928), and Dilsey’s focalized perspective (though not in first person – Easter Sunday – April 8th, 1928). The novel’s title comes from the final soliloquy in Macbeth – “the tale of sound and fury, told by an idiot and signifying nothing” (the “nothing” pun in Naiman’s terms would be interesting here, given the centrality of Caddy’s sexuality). Once again, you could consider these as Matthew, Mark, Luke, and John, Mark being the oldest source material for the other two synoptic gospels and John (the Dilsey section) being that of revelation.
Faulkner originally proposed representing Benjy in different-colored fonts, and to be sure, both he and Quentin are synesthetes (Benjy’s “smelled cold,” etc). Benjy’s narrative is odd because he cannot speak (he repeats “I tried to say”), but we see the world through his eyes. He seems to believe he creates the very world around him “the fire disappeared,” “the bowl appeared.” Benjy’s narrative accumulates moments that conflate all chronology or clock time – a heap of duree in one dose. His obsession with mirrors and what enters and exits their frames is thus interesting: Benjy watches to see his own creation of life, and is upset when the mirror disappears. He listens at the fence for the golfers to say “caddie” to hear the name of his sister, which no one else speaks.
The incest trope (Caddy and Quentin) functions here not so much for the shock, but because the plot hinges on unspeakability. Incest mobilizes the problems of kinship and loyalty, the inability for the characters to communicate – they all suffer from versions of Benjy’s “I tried to say,” a modern condition, perhaps. Dilsey and the other black characters escape/are erased from even the narrative effort: “These others were not Compsons. They were black:… Dilsey. They endured” 427.