He would try to explain it: ‘It’s like Old Moster and the rest of them up there that run the luck, would look down at us and say, Well well, looks like them durn peckerwoods down there don’t want them fifteen dollars we was going to give them free-gratis-for-nothing. So maybe they don’t want nothing from us. So maybe we better do like they seem to want, and let them sweat and swivet and scrabble through the best they can by themselves.’
Which they — the town — did, though even then the courthouse was not finished for another six years. Not but that they thought it was: complete: simple and square, floored and roofed and windowed, with a central hallway and the four offices — sheriff and tax assessor and circuit- and chancery-clerk (which — the chancery-clerk’s office — would contain the ballot boxes and booths for voting) — below, and the courtroom and jury-room and the judge’s chambers above — even to the pigeons and English sparrows, migrants too but not pioneers, inevictably urban in fact, come all the way from the Atlantic coast as soon as the town became a town with a name, taking possession of the gutters and eave-boxes almost before the final hammer was withdrawn, uxorious and interminable the one, garrulous and myriad the other.
Then in the sixth year old Alec Holston died and bequeathed back to the town the fifteen dollars it had paid him for the lock; two years before, Louis Grenier had died and his heirs still held in trust on demand the fifteen hundred dollars his will had devised it, and now there was another newcomer in the county, a man named John Sartoris, with slaves and gear and money too like Grenier and Sutpen, but who was an even better stalemate to Sutpen than Grenier had been because it was apparent at once that he, Sartoris, was the sort of man who could even cope with Sutpen in the sense that a man with a sabre or even a small sword and heart enough for it could cope with one with an axe; and that summer (Sutpen’s Paris architect had long since gone back to whatever place he came from and to which he had made his one abortive midnight try to return, but his trickle, flow of bricks had never even faltered: his moulds and kilns had finished the jail and were now raising the walls of two churches and by the half-century would have completed what would be known through all north Mississippi and east Tennessee as the Academy, the Female Institute) there was a committee: Compson and Sartoris and Peabody (and in absentia Sutpen: nor would the town ever know exactly how much of the additional cost Sutpen and Sartoris made up): and the next year the eight disjointed marble columns were landed from an Italian ship at New Orleans, into a steamboat up the Mississippi to Vicksburg, and into a smaller steamboat up the Yazoo and Sunflower and Tallahatchie, to Ikkemotubbe’s old landing which Sutpen now owned, and thence the twelve miles by oxen into Jefferson: the two identical four-column porticoes, one on the north and one on the south, each with its balcony of wrought-iron New Orleans grillwork, on one of which — the south one — in 1861 Sartoris would stand in the first Confederate uniform the town had ever seen, while in the Square below the Richmond mustering officer enrolled and swore in the regiment which Sartoris as its colonel would take to Virginia as a part of Bee, to be Jackson’s extreme left in front of the Henry house at First Manassas, and from both of which each May and November for a hundred years, bailiffs in their orderly appointive almost hereditary succession would cry without inflection or punctuation either ‘oyes oyes honourable circuit court of Yoknapatawpha County come all and ye shall be heard’ and beneath which for that same length of time too except for the seven years between ‘63 and ‘70 which didn’t really count a century afterward except to a few irreconcilable old ladies, the white male citizens of the county would pass to vote for county and state offices, because when in ‘63 a United States military force burned the Square and the business district, the courthouse survived.
It didn’t escape: it simply survived: harder than axes, tougher than fire, more fixed than dynamite; encircled by the tumbled and blackened ruins of lesser walls, it still stood, even the topless smoke-stained columns, gutted of course and roofless, but immune, not one hair even out of the Paris architect’s almost forgotten plumb, so that all they had to do (it took nine years to build; they needed twenty-five to restore it) was put in new floors for the two storeys and a new roof, and this time with a cupola with a four-faced clock and a bell to strike the hours and ring alarms; by this time the Square, the banks and the stores and the lawyers’ and doctors’ and dentists’ offices, had been restored, and the English sparrows were back too which had never really deserted — the garrulous noisy independent swarms which, as though concomitant with, inextricable from regularised and roted human quarrelling, had appeared in possession of cornices and gutter-boxes almost before the last nail was driven — and now the pigeons also, interminably murmurous, nesting in, already usurping, the belfry even though they couldn’t seem to get used to the bell, bursting out of the cupola at each stroke of the hour in frantic clouds, to sink and burst and whirl again at each succeeding stroke, until the last one: then vanishing back through the slatted louvres until nothing remained but the frantic and murmurous cooing like the fading echoes of the bell itself, the source of the alarm never recognised and even the alarm itself unremembered, as the actual stroke of the bell is no longer remembered by the vibration-fading air. Because they — the sparrows and the pigeons — endured, durable, a hundred years, the oldest things there except the courthouse centennial and serene above the town most of whose people now no longer even knew who Doctor Habersham and old Alec Holston and Louis Grenier were, had been; centennial and serene above the change: the electricity and gasolene, the neon and the crowded cacophonous air; even Negroes passing in beneath the balconies and into the chancery-clerk’s office to cast ballots too, voting for the same white-skinned rascals and demagogues and white supremacy champions that the white ones did — durable: every few years the county fathers, dreaming of baksheesh, would instigate a movement to tear it down and erect a new modern one, but someone would at the last moment defeat them; they will try it again of course and be defeated perhaps once again or even maybe twice again, but no more than that. Because its fate is to stand in the hinterland of America: its doom is its longevity; like a man, its simple age is its own reproach, and after the hundred years, will become unbearable. But not for a little while yet; for a little while yet the sparrows and the pigeons: garrulous myriad and independent the one, the other uxorious and interminable, at once frantic and tranquil — until the clock strikes again which even after a hundred years, they still seem unable to get used to, bursting in one swirling explosion out of the belfry as though the hour, instead of merely adding one puny infinitesimal more to the long weary increment since Genesis, had shattered the virgin pristine air with the first loud ding-dong of time and doom.
Scene I
COURTROOM. 5.30 P.M. November thirteenth.
The curtain is down. As the lights begin to go up:
MAN’S VOICE (behind the curtain)
Let the prisoner stand.
The curtain rises, symbolising the rising of the prisoner in the dock, and revealing a section of the courtroom. It does not occupy the whole stage, but only the upper left half, leaving the other half and the bottom of the stage in darkness, so that the visible scene is not only spotlighted but elevated slightly too, a further symbolism which will be clearer when Act II opens — the symbolism of the elevated tribunal of justice of which this, a county court, is only the intermediate, not the highest, stage.
This is a section of the court — the bar, the judge, officers, the opposing lawyers, the jury. The defence lawyer is Gavin Stevens, about fifty. He looks more like a poet than a lawyer and actually is: a bachelor, descendant of one of the pioneer Yoknapatawpha County families, Harvard and Heidelberg educated, and returned to his native soil to be a sort of bucolic Cincinnatus, champion not so much of truth as of justice, or of justice as he sees it, constantly involving himself, often for no pay, in affairs of equity and passion and even crime
