The Changing Verbal Portraits of Emily in A Rose for Emily Essay

The Changing Verbal Portraits of Emily in A travel for Emily A Rose for Emily, by Faulkner, provides not only innumerable detail only when also a complex structure. Long after the reader has learned to make out and discuss the function of significant detail, they often continue to battle with the influence of structure on a story. The imagery of changing portraits in A Rose for Emily allows the reader to explore both to find meaning. In sum to the literal portrait of Emilys father, Faulkner creates numerous figurative portraits of Emily herself by framing her in doorways or windows. The chronological organization of Emilys portraits visually imprints the changes occurring throughout her life. Like an impressionist ikon that changes as the viewer moves to different positions, however, the structural organization provides clues to the whole picture or to the motivations screw her transformations. Chronologically, the back-flung front door creates the first tableau of a new-mad e Miss Emily, assiduously guarded by her father. Miss Emily, a slender figure in white,1 typifies the vulnerable virgin, hovering in the background, subordinate and passive. The father, a spraddled project in the foreground, his back to her and clutching a horsewhip (CS 123), is a menacing dark image presumptuous the dominant front position. His turned back suggests a tailor for her emotional welfare as he wards off potential danger--or violation of her maidenhead--with his horsewhip. The back-flung door invites suitors in, but only those who meet Grierson standards. Unfortunately, those standards are unattainable--The Griersons held themselves a little too high for what they really were (CS 123)--and Miss Emily remains... ...cefully on her funeral bier with a simple image of love and loss, a strand of iron-gray hair resting on the yellowed lie of an impotent bridal bed. This haunting image is the fianl pen stroke whispering the eulogy of her diminished life. Notes 1 Collecte d Stories of William Faulkner (New York Vintage, 1977), 123. Hereafter CS. 2 The southern plantation owner patterned his lifestyle after the English country gentleman (Daniel Boorstin, The American The Colonial visualize Random House, 1958). In doing so, he developed a code of plow that reflected the amativeism of the medevial age. A feudal mind set--replete with courtly love, a code of honor, and a romantic quest--is evident in several of Faulkners male characters, e.g., Sutpen in Abaslom, Absalom and Hightower in Light in August. 3 The Sound and the Fury (New York Random House, 1992), 78. The Changing Verbal Portraits of Emily in A Rose for Emily EssayThe Changing Verbal Portraits of Emily in A Rose for Emily A Rose for Emily, by Faulkner, provides not only innumerable details but also a complex structure. Long after the reader has learned to identify and discuss the function of significant detail, they often continue to struggle with the influence of struct ure on a story. The imagery of changing portraits in A Rose for Emily allows the reader to explore both to find meaning. In addition to the literal portrait of Emilys father, Faulkner creates numerous figurative portraits of Emily herself by framing her in doorways or windows. The chronological organization of Emilys portraits visually imprints the changes occurring throughout her life. Like an impressionist painting that changes as the viewer moves to different positions, however, the structural organization provides clues to the whole picture or to the motivations behind her transformations. Chronologically, the back-flung front door creates the first tableau of a youthful Miss Emily, assiduously guarded by her father. Miss Emily, a slender figure in white,1 typifies the vulnerable virgin, hovering in the background, subordinate and passive. The father, a spraddled silhouette in the foreground, his back to her and clutching a horsewhip (CS 123), is a menacing dark image assuming t he dominant front position. His turned back suggests a disregard for her emotional welfare as he wards off potential danger--or violation of her maidenhead--with his horsewhip. The back-flung door invites suitors in, but only those who meet Grierson standards. Unfortunately, those standards are unattainable--The Griersons held themselves a little too high for what they really were (CS 123)--and Miss Emily remains... ...cefully on her funeral bier with a simple image of love and loss, a strand of iron-gray hair resting on the yellowed pillow of an impotent bridal bed. This haunting image is the fianl pen stroke whispering the eulogy of her wasted life. Notes 1 Collected Stories of William Faulkner (New York Vintage, 1977), 123. Hereafter CS. 2 The southern planter patterned his lifestyle after the English country gentleman (Daniel Boorstin, The American The Colonial Experience Random House, 1958). In doing so, he developed a code of conduct that reflected the romanticism of the me devial age. A feudal mind set--replete with courtly love, a code of honor, and a romantic quest--is evident in several of Faulkners male characters, e.g., Sutpen in Abaslom, Absalom and Hightower in Light in August. 3 The Sound and the Fury (New York Random House, 1992), 78.