S and F, chapter II, is rendered, not only from the perspective of Quentin Compson, but in the voice of Quentin Compson, an important distinction because of the novel’s self-conscious identification with the drama, specifically with tragedy, more specifically with tragic soliloquies, and more specifically yet with a particular tragic soliloquy from Macbeth:

She should have died hereafter.
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing (V, 5).

Although the “tale told by an idiot” surely alludes to Benjy’s autistic, mute soliloquy that is the first chapter, and although he who is “full of sound and fury,” strutting and fretting, can only be Jason, the rancorous, spiteful soliloquizer of the third chapter, the first paragraph of Quentin’s soliloquy, cited above, works closely with the tomorrow speech, in terms of shadow (shadow of the sash), time (tomorrow, creeps, petty pace,time, yesterdays, brief, hour, mo more), fools (“folly and despair,” “philosophers and fools”), and nihilism (signifying nothing), the latter conviction voiced mainly by Father, as remembered (or authored, in any case, transmitted or mediated) by Quentin.
Father’s equivocating cynicism, “No battle is ever won…not even fought” of course refers to the Civil War and the Lost Cause that burdens the world of S and F, but it also echoes the witches of Macbeth, they who famously equivocate, “When the battle’s lost AND (my emphasis) won.” N.B., Not only the tomorrow speech, but both subtle and overt echoes of Macbeth as a whole sound throughout S and F.
Also of note in the first paragraph of chapter 2: Father’s “excruciating-ly” picks up on the the theme of Christic sacrifice (crucifixion) introduced by Benjy and developed by Quentin in chapter 2. Father’s overly deliberate pronunciation of “excruciatingly” (the Vintage edition supplies a dash before the “ly”), together with his slurring of “reductio ad absurdum” into “reducto absurdum” (Father is too erudite simply to bungle the Latin) is meant to suggest that he was drunk when he presented the watch to Quentin.
At any rate, it is meant to suggest that Father was drunk, as Quentin recalls it. That Faulkner means to present Quentin (as well as Jason and the third person narrator of chapter 4) as an unreliable narrator is emphatically confirmed by Benjy’s narration, which, owing to Benjy’s autistic inability to editorialize or do anything but to rewind in his mind unadulterated transcripts, is, ingeniously, perhaps the only reliable narration in English language literature.

It also references the symbolic connection between marriage and death (of the individual to the pair bond, the ego’s subservience to union)