kner's depiction of most of Yoknapatawpha County's residents illustrates their wretchedness in a world whose rapid and confusing modernization is overtaking their way of life. Brecht, meanwhile, explores the corruption of institutions in Galileo, the stupidity and nihilism of war in Mother Courage, and the skewed morality of bourgeois life in Threepenny Opera. What sets a Brecht apart from a Nietzsche, however, has more to do with the shape a literary form assumes than the content or even intent. Brecht's plays are loaded with spectacle and comedy. Faulkner insists in The Sound and the Fury that man will endure and in his Nobel Prize Acceptance Speech that man will not simply endure but prevail (Faulkner 8). Nietzsche cannot seem to make a statement about how the world works without turning it into a declaration that reaches past reform of bourgeois philosophy and into the moral cosmos: "Like by like! otherwise you will draw the past to yourown level. Do not believe any history that does not spring from the mind of a rare spirit" (Nietzsche 40). And o
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