A Rose For Emily

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Information about A Rose For Emily

Published on February 23, 2009

Author: mehdi_hassanian

Source: slideshare.net


Structural Analysis of A Rose for Emily, by William Faulkner

Structural analysis of A Rose for Emily, by William Faulkner Mehdi Hassanian esfahani # GS22456 Literary Theory (BBL5201) A Rose for Emily, by William Faulkner is a short story in five parts. It is strongly structured through contrasts, whether in the narration (which depicts every single scene for us) or in the story (which consists of oppositions of what we expect to happen). This contrast helps us from the beginning, to clearly differ between dark and bright colors, powerful and pitiful figures, and even important and unimportant voices. It would also help in characterization, as Emily’s identity is in a part dependent on what she is not (regarding the other people in society) and vice versa. In this novel, the order of events is logical. In the unfolded plot summary, Emily Grierson, the protagonist, bears a miserable life with her father. Losing her chances of marriage (or her future life) is followed by the lost of her father (her past). She has nowhere and no one to connect with, and society ignores her. Losing her social role, she becomes dehumanized. She is left alone, when she is much in need of someone, at least a friend. Here comes a chance of friendship with a man form the lower class, but a lover at least, who seems to be gay in the eyes of other people, but acts promising toward Emily. He is good-looking, a “big, dark, ready man, with a big voice and eyes lighter than his face”. She shouldn’t think of him seriously, but she does. When he wants to leave, Emily has nothing else to lose. She lives an eccentric life; kills the lover and lives with his corpse until she dies. This careful series of events, following each other, prepares us to the discovery of killing and her eccentric life. But it is not narrated chronologically, in order to keep the suspense and increase the tension about the ending; murder, and the gray hair near the corpse. Surprisingly, death of the protagonist, which may be the climax in another story, is presented first. The story is narrated from the perspective of people around Emily; 1

the city, and older people of the city. That is why her death is not important; it is not the climax either. They respect her, or bear her as a duty, and are separated from her life. The point of view never tries to understand Emily, but is intrusive about her strange life, her relations and her diversities. People act as passive strangers, looking just to amuse themselves, or find a subject to gossip about. A Rose for Emily is full in narration, and the duration of events is about a day, covering her death, funeral, and people’s visit to the house. But the narrative constantly goes back in the time and narrates what they, people in the city, remember of the past; it is through these flashbacks and memories that we can get the entire sad story of Emily. Time stretches about 10 years to cover this phase of Emily’s life. It jumps upon traumatic events of her life. Perspective is cold, and objective. It never interferes in the events or has sympathy toward the protagonist. If there is a respect, it is due the social duty or tradition. There is almost no frequency of events in this short story, but there is an emphasis on the behaviors to show in many ways that she is apart from society. She is stubborn to be apart from the society, which was never helpful or never tried to understand her. She is an eyesore; they do not truly like her, neither does she. There is also emphasis on the marriage, to present Emily as a frustrated spinster in a traditional society; a key to make the ending acceptable. There is not a variety of voices, as well. Despite some minor conversations and quotes, it is the society, a person among “others” that narrates objectively what happens and what has happened. This brings about a distance between the story and the narration, as the person(s) view is limited to their knowledge and their understanding, and may be even different form the story. 2

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