a rose for emily essay pdf

A Summary and Analysis of William Faulkner’s ‘A Rose for Emily’

By Dr Oliver Tearle (Loughborough University)

‘A Rose for Emily’ is a short story by William Faulkner, originally published in Forum in 1930 before being collected in Faulkner’s collection, These Thirteen , the following year. The story concerns an unmarried woman living in the American South who attracts the concern and suspicion of the townspeople after her father dies and she becomes romantically involved with a Yankee man from the North.

‘A Rose for Emily’ is a story that invites a number of different critical interpretations and has attracted a great deal of commentary and analysis. Before we analyse the meaning of Faulkner’s classic story, it might be worth recapping the plot.

‘A Rose for Emily’: plot summary

The story begins with the news that Miss Emily Grierson, a recluse living alone with a black servant in a large house in town, has died. The narrator, a kind of collective voice of the townspeople, tells us that everyone in the town attended the funeral, with many of the women being curious to see inside the woman’s house that nobody had been allowed inside for years.

We are told that ten years earlier, the aldermen of the town had gained access to her house in order to question her about failure to pay her taxes. She simply tells them that she does not owe any taxes to the town, and calls for her servant to show the men out. Thirty years before that, another group of men from the town had visited Emily Grierson’s home to sprinkle lime in the cellar and the outbuildings, in order to get rid of the smell coming from the house.

That was two years after the death of her father, a crayon portrait of whom stands on an easel in front of the fireplace. After her father’s death, Emily’s sweetheart had deserted her and Emily left the house only on very rare occasions. When the house had begun to smell a short while after, neighbours had complained to the mayor, but the mayor had been reluctant to confront Emily about such a delicate matter, hence the party of men sprinkling lime under and around the house.

The narrator tells us that the townspeople had always thought the Griersons held themselves in high regard, as if none of the men would be good enough for Emily. When her father died, the women turned up at her house to pay their condolences, but she denied that he had died. The doctors had to persuade Emily to bury the body.

Despite this odd behaviour, the townspeople didn’t consider Emily to be mad. They attributed her actions to her father’s controlling presence, and the way he had sent away all her potential suitors, forcing her to rely on him, even after his death.

After her father’s death, Emily was sick for a long while, and when she was seen again, she had cut her hair short to make her look like a girl. The following summer, a construction company arrived to pave the paths of the town, and the foreman, a Yankee from New York named Homer Barron, is seen out riding on Sundays with Emily. The townsfolk start to say, ‘Poor Emily’, believing that she cannot be seriously interested in a Northerner like Barron.

Emily purchases some arsenic from the local druggist, who assumes she will use it to kill rats. However, the rumour in the town is that Emily is planning to take her own life. People start to grow suspicious of the length of Emily’s courtship with Barron, with the minister intervening and the minister’s wife writing a concerned letter to Emily’s relatives in Alabama, and her cousins come to stay with her. Soon after this, the townsfolk became certain that Emily and Barron had married.

But then Homer Barron vanished, and nobody saw him again. Emily is barely seen either, and when she does reappear from the house, her hair has turned grey and she has put on weight. For a short while, Emily would give lessons in china-painting from her doorstep, but even this she eventually gave up. The townspeople grow up and move on and she becomes even more of a recluse. Her African-American servant loyally remains in her service, but nobody else goes into the house.

When Emily dies and her body is buried, the townsfolk finally venture into the upstairs bedroom in the house, where they discover the dead body of a man lying on the bed, surrounded by dust – presumably, the man is Homer Barron (though this is not stated). Next to the dead body is the indentation of a head and a long strand of Emily’s hair, suggesting that she was in the habit of lying next to the man’s body in the bed.

‘A Rose for Emily’: analysis

‘A Rose for Emily’ is a subtle story which blends first- and third-person narration, Gothic literature and realism, past memories and present events, to unsettle us as readers. The whole town appears to be the story’s narrator, a kind of collective ‘we’ which speaks together about – and against – Emily’s strange behaviour until we reach the chilling finale and Homer Barron’s body is discovered.

This means that Emily remains distant from us as readers, and we never learn about her inner life: we only ever see her from the outside, through the eyes of the townspeople. This is obviously fitting because Emily is an outsider in the town, but it also lends an air of mystery to the events recounted, because so little is understood of Emily’s motivations and emotions.

Because of this unnerving denouement, ‘A Rose for Emily’ is often regarded as an example of Southern Gothic : a literary mode, practised by writers of the American South (like Faulkner) whose stories and novels are characterised by macabre, horrific, or grotesque elements. Such fiction often also contains an accumulation of realist detail, and Faulkner allows the mood of uncanniness which pervades Emily’s house and her life to emerge gradually.

Her reluctance to give up her father’s body for burial, for example, foreshadows her (presumed) murder of her lover and concealment of his body in the upper bedroom, whom she killed when she realised that was the only way of holding onto him and ensuring he remained hers for good. The crumbling Gothic castle has become a house in the Southern United States, in which everything is ‘tarnished’ (note how often that word recurs), spoiled, fading (like Emily’s iron-grey hair), and falling to ruin.

This offers a new, more domestic take on a traditional trope in Gothic fiction: the dark secret threatening to destroy a ‘house’ or family (see Poe’s ‘ The Fall of the House of Usher ’ for one notable example from the nineteenth century), and (in many Gothic stories) the dead body that is only discovered at the end of the narrative.

But at least Poe’s protagonists managed to bury their bodies (although sometimes, as in the story just mentioned, before they were actually dead), or concealed them beneath the floorboards . Faulkner’s story instead hints at an altogether more morbid and unwholesome notion: that Emily has continued to ‘sleep’ with Homer even after he was dead (indeed, perhaps that was the only way she could sleep with him at all).

Another reason that the Southern Gothic tag is important for ‘A Rose for Emily’ is that Emily, a Southern lady, falls for a ‘Yankee’: a man from the North of the United States. Although the American Civil War ended in 1865, decades before Faulkner was writing, the sense of North-South divide, in terms of culture, class, and identity, proved long-lasting (and arguably persists to this day).

The townsfolk are appalled by the idea that Miss Emily, an aristocratic Southern lady, might seriously be considering marriage to a Northerner, whom they consider to be beneath her on the social scale (hence the reference to noblesse oblige : Emily should entertain Homer and be courteous to him, but the idea that she could marry such a man horrifies the Southern townspeople’s sensibilities).

Faulkner leaves many specific details of Emily’s relationship with Homer as mere hints and speculations, in keeping with the narrative mode of the story: the townspeople, shut out from her house and, in many ways, from her life, can only conjecture as to what happened. We are in a similar position, though it seems sensible enough to surmise that Emily fell in love with Homer – who, it is strongly suggested, had no intention of settling down with her.

Like Emily, he is a perpetual singleton, but whereas Emily is single because of the controlling influence of her father (an influence which persists, in its psychological hold on her, even after her father’s death), Homer is single by choice: a stark reminder of the gender differences between men and women in Southern society at this time.

Women like Emily attract concern and rumour if they remain unmarried, while the bachelor Homer Barron – whose name summons Greek heroism and nobility, while also hinting at the ‘barren’ nature of Emily’s would-be relationship with him – charms the townsfolk and becomes popular, despite being, like Emily, an outsider set apart from them.

Why does Faulkner title his story ‘A Rose for Emily’? In an interview he gave at the University of Virginia, he suggested that Emily deserved to be given a rose because of all of the torment she had endured: at the hands of her father, perhaps at the hands of Homer as well, and as a result of the townsfolk treating her like an outsider.

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Literary Theory and Criticism

Home › Literature › Analysis of William Faulkner’s A Rose for Emily

Analysis of William Faulkner’s A Rose for Emily

By NASRULLAH MAMBROL on June 12, 2021

Initially published in Forum on April 30, 1930, and collected in These Thirteen in 1931, “A Rose for Emily” remains one of William Faulkner’s most read, most anthologized, and most significant stories. From every imaginable perspective, critics have scrutinized the components of Faulkner’s literary technique: The story has been viewed as an allegory of southern history, a metaphorical depiction of NorthSouth relationships, feminist nightmare or feminist victory, a gothic horror story, a sociological portrayal of individualism squelched or individualism triumphant, a bleak fictional tale of determinism. Faulkner’s uses of structure, tone, point of view, and imagery play key roles in his depiction of Miss Emily Grierson. The fact that readers and critics still engage in interpretive debates over its meaning merely ensures that it will continue to be read.

Told from the perspective of Jefferson, in Yoknapatawpha County, in a narrative voice that consistently relates the details that “we”—the smug and gossipy townspeople of Jefferson—have observed, the story is intriguing on the level of plot and character alone: Miss Emily has just died, and we learn that she lived alone after her father died and Homer Baron, her Yankee lover, apparently abandoned her. Suspense continues to build when we learn that a mysterious odor emanated from her house at the time that Homer disappeared. Faulkner employs a number of clues to foreshadow both denouement and motivation, including the “tableau” of the imperious father with a horsewhip overshadowing his white-clad young daughter Emily; the portrait of her father that Emily displays at his death, despite his thwarting of her natural youthful desires; her defiant public appearances with the unsuitable Homer Baron; her sense of entitlement; and the arsenic she buys to rid her house of “rats.” Despite these and other devices, however, new generations of readers still react in horror when Emily’s secret is revealed: She not only murdered her lover but slept with his corpse in the attic bridal chamber she carefully prepared.

If Miss Emily is crazy (and most critics agree that she is), Faulkner implies that she has been made so by the constrictions of a father who refused to let her marry and by the conventions of a society that eagerly filled the void at his death. Numerous critics have suggested that behind the gothic horror of necrophilia and insanity in this classic story, Miss Emily Grierson is the oddly modern hero. Indeed, one critic asserts that we cannot understand any of Faulkner’s heroes if we do not understand Miss Emily, for she is the “prototype” of them all (Strindberg 877). As with other troubled Faulknerian protagonists, death literally frees Miss Emily—from patriarchy, from society’s conventions, from sexual repression, from the class structure she was taught to revere, from the useless existence of privileged women of her era, even from the burdens of southern history and slavery: With her death, her black servant, mysteriously complicit in his relation to Miss Emily, walks out of her house at the end of the story. In an interview at the University of Virginia, Faulkner suggested that Miss Emily deserved a rose for all the torment she had endured, and, whatever else they feel, most readers appear to agree with this sentiment.

BIBLIOGRAPHY Blotner, Joseph. Faulkner: A Biography. 2 Vols. New York: Random House, 1974. Rev. ed., New York: Random House, 1984. Carothers, James. Faulkner’s Short Stories. Ann Arbor: University of Michigan Press, 1985. Faulkner, William. “A Rose for Emily.” In Collected Short Stories. New York: Random House, 1940. Ferguson, James. Faulkner’s Short Fiction. Knoxville: University of Tennessee Press, 1991. Strindberg, Victor. “A Rose for Emily.” In Reader’s Guide to Short Fiction, edited by Noelle Watson, 577. Detroit: St. James Press, 1993.

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