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  • noun

Synonyms for Bayard

French soldier said to be fearless and chivalrous (1473-1524)

References in periodicals archive ?
Binding Quentin Compson and Bayard Sartoris together is a compulsive need to tell themselves through their particular "memories" of the war, narrated in each instance as a function of their respective roles within a community that the war itself has bequeathed to them.
Bayard Sartoris does not signify a consistent narrative focus, since the character's age, thought processes, understanding, and self-awareness evolve from one story to the next, uncoordinated (at least conspicuously) by any larger narrative consciousness.
For Bayard and Ringo playing in the Sartoris dirt, their games and models do not merely approximate or reduce the reality of war but are as much of that reality as they can know.
This distinction is important because it points to the different cultural work performed by Quentin's and Bayard's historical remembering, two processes of seeing Southern myth in cultural context that produce distinctly different understandings of contemporary responsibility.
The first mention of John Sartoris in The Unvanquished, in fact, concerns Bayard's inability to talk to him about the war: "He's at Tennessee, fighting," Bayard says.
Here the man's actual stature matters less than the size of his reported exploits, but even those heroic deeds, Bayard admits, may not be any greater than those performed by other soldiers at the front.
The plot of The Unvanquished largely concerns what Bayard in "Ambuscade" calls "a point at which credulity firmly and calmly and irrevocably declines" (18).
Bayard's understanding of historical context is provided by Drusilla's story of the locomotives in "Raid," the only episode in The Unvanquished that attempts to see specific details from the war as suggestive of something larger than individual personal experience.
The railroad itself possesses a talismanic importance to Bayard and Ringo, embodying a difference in experience more significant to them than their skin color or social status: "What counted was, what one of us had done or seen that the other had not, and ever since that Christmas I had been ahead of Ringo because I had seen a railroad, a locomotive." Unlike Absalom's vision of race as the unmanageable obsession that brings down men, families, and nations, race in this scene is a sort of anti-factor, a quality of difference whose importance is specifically reduced in the presence of historical symbol.
Bayard notes that "Ringo and I had seen Yankees; we had shot at one," but such a moment becomes meaningless beside the sense of history and moral destiny symbolized in the feuding trains.
"[W]e knew a war existed," thinks Bayard as Drusilla tells the story.
The locomotives that Bayard decides can somehow represent the reality of the war do so in characteristically Faulknerian terms by denying the presence of the imagery they reaffirm in Bayard's mind.
By choosing to locate "proof" of the war in the figures of these locomotives, Bayard chooses to reject loud artillery, the Rebel yell, and flying regimental colors as sources of authority through which to understand and participate in the war.