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It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street. But garages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps-an eyesore among eyesores.
And now Miss Emily had gone to join the representatives of those august names where they lay in the cedar-bemused cemetery among the ranked and anonymous graves of Union and Confederate soldiers who fell at the battle of Jefferson.
Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town, dating from that day in when Colonel Sartoris, the A rose for emily literary who fathered the edict that no Negro woman should appear on the streets without an apron-remitted her taxes, the dispensation dating from the death of her father on into perpetuity.
Not that Miss Emily would have accepted charity. Colonel Sartoris invented an involved tale to the effect that Miss Emily's father had loaned money to the town, which the town, as a matter of business, preferred this way of repaying.
Only a man of Colonel Sartoris' generation and thought could have invented it, and only a woman could have believed it. When the next generation, with its more modern ideas, became mayors and aldermen, this arrangement created some little dissatisfaction.
On the first of the year they mailed her a tax notice. February came, and there was no reply. They wrote her a formal letter, asking her to call at the sheriff's office at her convenience.
A week later the mayor wrote her himself, offering to call or to send his car for her, and received in reply a note on paper of an archaic shape, in a thin, flowing calligraphy in faded ink, to the effect that she no longer went out at all.
The tax notice was also enclosed, without comment. They called a special meeting of the Board of Aldermen. A deputation waited upon her, knocked at the door through which no visitor had passed since she ceased giving china-painting lessons eight or ten years earlier.
They were admitted by the old Negro into a dim hall from which a stairway mounted into still more shadow. It smelled of dust and disuse--a close, dank smell. The Negro led them into the parlor. It was furnished in heavy, leather-covered furniture.
When the Negro opened the blinds of one window, they could see that the leather was cracked; and when they sat down, a faint dust rose sluggishly about their thighs, spinning with slow motes in the single sun-ray.
On a tarnished gilt easel before the fireplace stood a crayon portrait of Miss Emily's father.
“A Rose for Emily” tells the story of tradition versus nontraditional and old versus new, which is brought to light through the story’s plot, characters, and setting. Right the beginning of the story it is clear that it will be about old versus new. A Rose for Emily Literary Devices Chapter Exam Instructions. Choose your answers to the questions and click 'Next' to see the next set of questions. “A Rose for Emily” Literary Analysis The story “A Rose for Emily” is a piece that is short in length, but one that is filled with many important aspects of writing. The characters in the story are all different and very important to the telling of the piece throughout.
They rose when she entered--a small, fat woman in black, with a thin gold chain descending to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. Her skeleton was small and spare; perhaps that was why what would have been merely plumpness in another was obesity in her.In “A Rose For Emily,” William Faulkner imitates associative Southern storytelling style as an unnamed first-person narrator speaks for the entire town of Jefferson, relating what .
The narrator of "A Rose For Emily" is a stand-in for people of Jefferson, and the tone the narrator adopts reflects the two sides of the Jeffersonian nature.
Remember, this is a community that both. William Faulkner's ''A Rose for Emily'' is a Southern Gothic text, meaning that it tackles the macabre imagery of Southern tradition. Criticism of the text is wide ranging. Criticism of the text is wide ranging. "A Rose for Emily" exemplifies the disjunctive, "aporetical" style characteristic of Modernist fiction.
Numerous critics have pointed out the story's difficulties-many of which result from the distorted chronology-and its technical virtuosity. Literary Criticism of William Faulkner's A Rose for Emily In William Faulkner's "A Rose for Emily," Emily becomes a minor legend during her lifetime. After her death, when her secret is revealed, hers becomes a story that no one can forget.
The rose in “A Rose for Emily’ is a symbol of pity which the readers would have towards Emily after reading her story. “A Rose for Emily” is a short fascinating story written by William Faulkner.