Old Bayard's wife, the grandmother of Young Bayard and Young John Sartoris, is never named, and mentioned only in passing as part of the narrative's history of the parlor in the Sartoris mansion over the decades. We're told that she and her daughter-in-law and Miss Jenny clean the room "thoroughly" twice a year. There are exactly two words devoted to her: "his wife" (55).
The icon represents the woman whom Caspey calls "one of dese army upliftin' ladies" when he describes meeting her on an abandoned battle field (61). During the War, omen volunteered to give aid and comfort to the American doughboys through a variety of organizations, including the Red Cross, the Salvation Army and the YMCA. All we are told about this woman is that she was looking for souvenirs, "German bayonets and belt-buckles."
As part of the narrator's account of the history of the parlor in the Sartoris mansion, he mentions "three negroes with stringed instruments on the stairway" who provided the music at the many antebellum dinners and occasional balls that Colonel John held in the room (55).
This icon represents the various German combatants - "about thirty" sailors from a submarine (58) and "a whole regiment of Germans" swimming in a river (59) - whom Caspey says were killed by him and other black soldiers in his highly fictionalized account of his experiences at the Great War.
This icon represents the various unnamed white soldiers whom Caspey mentions in his highly fictionalized account of his experiences in France during World War I. Many of them are "M.P"s, but he also refers to "white officers" and the "white boys" with whom he shares a trench about four miles behind the front lines (60).
