Why is this hidden until the end? Even if they did not know about Emily keeping Homer's body—and with so many eyes on her house, the fact that nothing approaching the size of a grown man's corpse ever exited it might well have given them pause—by the very evidence the narrator discloses they might well have suspected the murder at least. They had attempted before to satisfy their curiosity by asking those that worked for Miss Emily. He also knew that she used rat poison to kill Homer. This generation found the arrangement Sartoris had made with Miss Emily dissatisfying; but, despite their persistence, they failed in their several attempts to exact taxes from the increasingly reclusive woman. Or: What does she represent to them? 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.
Perhaps the most intriguing, if unanswerable question raised by the story is, what happened between Emily and Homer? Yet another question, or mystery, is why did Homer Barron, a rowdy extrovert, take up with the spinsterly Emily Grierson in the first place? Foremost among these-why would Homer take up with Emily if he were not interested in her romantically? Also it makes us be on the one hand in favour of Miss Emily, but on the other hand, sometimes we are just as one more of the community trying to know more about what's happening and being curious about what's hidden behind that lonely figure. Moving walls are generally represented in years. Although her contact with others is limited, when she is forced to interact socially she is irrational and inappropriate, yet another symptom of schizophrenia American Psychiatric Association 147. Miss Emily grew up as part of an aristocratic Southern family, with an overpowering father who refused to allow her to be courted by the young men of the town. The willingness of the town to now admit responsibility is a hopeful sign, and one that allows us to envision a better future for generations to come. Since the narrator is a citizen, the culture does not seem strange. While this phenomenon may seem paradoxical, it is not at all uncommon.
Yet how teachers and their students choose to approach a particular story, what they find most remarkable and remunerative, lies outside the purview of my control-as it should. The viewpoint, therefore, even from a personal perspective, becomes more objective. This lends the narrative a somewhat confessional feel. Local legends and gossip trigger the main focus of his stories. Most importantly, perhaps, it requires that we devote more attention to Homer-if only to account for his enigmatic, transgressive presence-and relatively less to Emily. Miss Emily is not merely trying to assert an independent existence; rather, she has never been able to do so and for that reason she has developed symptoms of schizophrenia as a maladaptive coping mechanism. But the narrative voice makes nothing simple: as Nebecker further notes, Within all five sections, we note a continual shifting of person, from our to they to we….
By using an objective point of view an author turns the reader into a jury, so that the reader is able to interpret the story, and draw conclusions when given enough information. Speculation The narrator of ''A Rose for Emily'' is not an omniscient, or all-knowing, narrator. Since the spectacle of a single woman taking up with-or, non-euphemistically, having sex with-a single man is no longer a spectacle, is no longer in fact a cause for opprobrium or even notice in most circles, present-day readers who supply an alternative explanation for the whispering campaign of the townspeople may simply be filling the vacuum created by changing mores; one taboo, or proscription, replaces another. He is probably working class because he knows her and is privileged to the information of the other citizens as well as having access to her actions when she is outside of her home. In a town that treated her as an oddity and, finally, a horror, a kind, sympathetic gesture—even one as slight as symbolically looking away when the private door is forced open—stands out. We wonder about the values of the narrator.
The Genesis of Secrecy: On the Interpretation of Narrative. The town carries the story of the progress of Emily's life and also judges her actions perceived or actual much like a chorus in a Greek tragedy. Notes 1 See Faulkner and Southern Womanhood by Diane Roberts Athens: U of Georgia P, 1994 , 159. It is not the fact that she said this that hints at her psychosis. This second quote shows that everybody of the town was interested in Miss. Throughout time, many things in life change, but sometimes things stay preserved.
This leads the town to speculate that Miss Emily will marry Homer Barron. This is necessary in order to get the same feeling that you get throughout the story with all of the facts provided. What Does he look like? The story dramatizes so many separate antinomies that the irreconcilable differences between Emily's and Homer's attitudes towards sexual, romantic relationships are easy to overlook, yet this may be the one difference that seals Homer's fate. In the end Miss Emily died, and. The new generation treat Miss Emily as one more, a person who has to pay her taxes.
They are like children: you have to handle them careful because you never know what they are going to do next. Once again, the pharmacist, representing the town as a whole, finds this request odd, but does not challenge it. As a result, she never married. Miss Emily is of the aristocracy in Jefferson, yet the narrator is obviously not. That is, while exploring the effects of chronology on interpretation, or untangling the chronology, or setting the chronology into stylistic context, neither Nebeker's nor any other scholar's extant criticisms attend to why the tale is told in the chronologically convoluted way that it is. As we read this story we just envision an old man who has always lived in this town The only times he speaks from his own perspectives is when it differs from the public's.
But because she never married, the domestic dreams that she had hoped to make reality never materialized. Even though she performs necrophilia with a low class man named Homer. If this is the case, then meaning is not something one discovers or extracts but, rather, something one confers or creates. Never felt compelled to get help. On Deconstruction: Theory and Criticism after Structuralism.
Either the narrator must be an atavistic racist or he must have come from a culture very different from our own--possibilities that, admittedly, are not mutually exclusive. This is a story about a woman, named Emily Grierson, and her relationships with the town of Jefferson, with a man she was in love with, Homer Barron, and with her father. His father makes sure he understands the ties of blood by beating him, but he enforces it himself by affirming his support for Abner out loud. But perhaps such a reading misses the woods for the trees. And why does the narrator think that it is important to tell us Miss Emily's story? He is so scarred by war that he cannot imagine being welcoming to Weddel, an ex-Confederate soldier.
As the ghastly conclusion of the story makes clear, however, our narrator and the townspeople he represents had only and always seen Emily from the outside-as the fact that they penetrate the inside of her house only after her death emphasizes. And, as such, was literally confined to live in her father's house. Miss Emily could have purchased the arsenic to kill herself, because of the lack of love, or to kill Homer Barron to keep him with her. Elizabeth McMahan, Susan X Day, and Robert Funk. A Rose for Emily Narrator Analysis What are his basic psychological characteristics?. Examining the narrator's manipulations of the timeline, however, may indicate a motive or motives that, when taken into consideration with the directions in which the narrative steers reader attention, potentially compound if not outright reclassify whatever horror results from the text's final image. Though surprises, good and bad, occur, one becomes pretty adept at anticipating students' reactions and deducing their readerly assumptions and habits.