comparison and contrast essay 2

What is not under debate, however, is that the chronology deliberately manipulates and delays

the reader's final judgment of Emily Grierson by altering the evidence. In other words, what the

chronology does is as important as when the events actually take place. In the same way, what

the title does reveals as much as the debate over what the rose means. The only rose that Emily

actually receives (putting aside symbolic roses for the moment) is the rose in the title, which

Faulkner as the author gives to her.

Just as the story's chronology is a masterpiece of subtle insinuations, so also is the title in its

implications for the structure of the story.

Previous attempts to offer a single explanation for the rose in "A Rose for Emily" highlight how

many possibilities exist. In one sense, Homer could be the rose (Fenson and Kritzer). A

combination of the rose-colored bedroom and Homer as a dried rose could serve as "a relic of

the past" (Weaks 12). Homer's body could be like a rose pressed between the pages of a book,

kept "tucked away in a seldom used, rose colored room which at times can be opened" (Kurtz

40). In another sense, it might be the narrator offering a rose to Emily: either "as a final tribute'"

by preserving the secret ofHomer's murder (Nebeker, "Emily's Rose" 9); or, conversely, the

narrator, "unwittingly, offers little more than 'bought flowers' in tribute to Miss Emily"· by not

recognizing the truth until the hair on the pillow is found (Garrison 341). If these various

symbols in the story are petals in the rose, it is important to note that the "Rose" of the title

gathers all of these references together in a way that moves beyond anyone source. Rather than

focusing the interpretation of the rose on any number of internal elements (Homer's body,

Emily's state of mind, the narrator's tribute, etc.), however valid as a piece of the puzzle, the

focus should be on the impact of the titular rose itself.

The narrator's ultimately limited understanding of what has been happening weakens the case

for the "Rose" being a tribute by the narrator.

No critic claims that the narrator knew about the hair on the pillow, even if the narrator (and a

significant percentage of the population) knew or guessed about the murder. The reassessment

of the title by the reader (but not by the narrator, who technically does not know the title and

remains oblivious to any outside commentary or literary allusions) must include more than a

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passing thought for the author, whose sleight of hand has brought about the surprise ending. The

story is, after all, a literary construct, and it is constructed under the title, or in this case sub rosa:

According to legend, the Greek god of silence, Harpocrates, stumbled upon Venus while she was making love with a handsome youth, and Cupid [...] bribed the god of silence to keep quiet about the affair by giving him the first rose ever created. This story made the rose the emblem of silence, and since the fifth century B.C., a rose carved on the ceilings ofdining and drawing rooms where European diplomats gathered enjoined all present to observe secrecy about any matter discussed sub rosa, or "under the rose" [...] The rose was also carved over the Roman Catholic confessional as a symbol of silence, and sub rosa became well known [...] as a tenn for "strict confidence," "complete secrecy," or "absolute privacy." (Hendrickson 167-68)

Jack Scherting's Freudian reading of "A Rose for Emily" uses the sub-rosa concept only to

suggest that Emily's attachment to her father had lasting repercussions: "The Oedipal desires

expressed in Emily's affair with Homer were never recognized by the people of Jefferson, and

Emily herself was aware ofthem only as subconscious longings" (404). On the contrary, the

townspeople are extremely sensitive to Emily's psychological state. When Emily tries to keep

her father's corpse, they "believed that she had to do that. We remembered all the young men

her father had driven away, and we knew that with nothing left, she would have to cling to that

which had robbed her, as people will" (124).

The fact that certain people in town knew that Homer was in the upstairs room argues a similar

recognition ofEmily's need to cling to Homer as she had tried to cling to her father: only, this'

time, they let her keep the body.

Whereas Scherting limits the title to expressing Emily's state of mind with her lover, I would

argue that the entire story operates sub rosa to conceal that iron-gray hair on the pillow until

after Emily is dead. Furthermore, Faulkner preserves Emily's privacy by never allowing the

reader, or the narrator, to become a voyeur. When Emily drives the Baptist minister away, we

are told that "He would never divulge what happened during that interview" (126): meaning, of

course, that the town must have pressed him for details enough times to realize that he would

not talk. No one is allowed inside the bedroom until both fonner occupants are dead, and the full

understanding of Emily's state of mind (despite the inevitability of speculation on the subject)

remains known only to Emily and her author.

The religious implications of the sub-rosa concept apply to the story as well. Beyond the

numerous secrets kept by various members of the community (from the Baptist minister to

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Tobe), the concept of the confessional, with the carved rose above it, applies more to the

Episcopalian Emily than it does to her Baptist neighbors. Although not all present-day

Episcopalians practice extreme unction, the Articles ofReligion established by the American

branch of the Episcopal (Anglican) church in 1801 include a description of how extreme unction

fits into church practice. Obviously, in Emily's case, the possibility for a full confession before

death exists only with her author, and his knowledge of her actions remains confidential until

after her death.

Structurally, the Grierson house itself adds both a physical and a figurative frame to the sub-rosa

aspect of the story: "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" (119).

The house, described as "lifting its stubborn and coquettish decay above the cotton wagons and

the gasoline pumps" (119), is almost certainly decorated in places with carved flowers, the rose

being a favorite choice among the Victorians. The main secrets in Jefferson take place inside

that building, and the most important secret is revealed only after the flowers have been placed

on Emily's grave.

The "Rose" ofthe title extends far beyond anyone flower or literary allusion in its implications

for the story's structure. The "Rose" represents secrecy: the confidential relationship between

the author and his character, with all of the privileged information withheld.

~ LAURA J. GETTY, North Georgia College and State Uni~ersitY ~ NOTES

1. A sampling of critical suggestions for the chronology can be found in the articles by Going, McGlynn, Nebeker "Chronology Revisited," Sullivan,Wilson, and Woodward. Literary allusions 232 for the story are discussed by Barber, Barnes, Birk, Edwards, Going, Hays, Levitt, Mellard, Stevens, Stewart, Stronks, and Winchell. 2. Faulkner's well-known answer about the title's meaning has been recognized as vague and, more important, evasive: Q. What is the meaning of the title "A Rose for Emily"? A. Oh, it's simply that the poor woman had no life at all. Her father had kept her more or less locked up and then she had a lover who was about to quit her, she had to murder him. It was just "A Rose for Emily"-that's all. (Faulkner in the University 87-88) 3. A sampling of critical views of the narrator include the articles by Burduck, Nebeker ("Emily's Rose"), Rodgers, Rodman, and Sullivan. 4. I am using the Collected Stories of William Faulkner (New York: Vintage, 1977) 119-30.

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WORKS CITED Barber, Marion. "The Two Emilys: A Ransom Suggestion to Faulkner?" Notes on Mississippi Writers 6 (1973): 103-05. Barnes, Daniel R. "Faulkner's Miss Emily and Hawthorne's Old Maid." Studies in Short Fiction 9 (1972): 373-77. Birk, John F. "Tryst Beyond Time: Faulkner's 'Emily' and Keats." Studies in Short Fiction 28.2 (1991): 203~13. Burduck, Michael 1. "Another View of Faulkner's Narrator in 'A Rose for Emily.'" UMSE 8 (1990): 209-ll. Edwards, C. Hines, Jr. "Three Literary Parallels to Faulkner's' A Rose for Emily.'" Notes on Mississippi Writers 7 (1974): 21-25. Faulkner in the University: Class Conferences at The University ofVirginia 1957-1958. Ed. Frederick 1. Gwynn and Joseph 1. Blotner. New York: Vintage, 1959. Fenson, Harry, and Hildreth Kritzer. Reading, Understanding, and Writing About Short Stories. New York: Free Press, 1966. Garrison, Joseph M., Jr. '''Bought Flowers' in 'A Rose for Emily.'" Studies in Short Fiction 16.4 (1979): 341-44. Going,William T. "Chronology in Teaching 'A Rose for Emily.'" Exercise Exchange 5 (1958): 8­ 11. Hays, Peter 1. "Who is Faulkner's Emily?" Studies in American Fiction 16 (1988): 105-10. Heitmeyer, Marina. The Language ofFlowers: Symbols and Myths. New York: Prestel, 2001. Hendrickson, Robert. Ladybugs, Tigerlilies and Wallflowers. New York: Prentice Hall, 1993. Kurtz, Elizabeth Carney. "Faulkner's' A Rose for Emily.''' Explicator 44.2 (1986): 40.

.Levitt, Paul. "An Analogue for Faulkner's' A Rose for Emily.'" Papers on Language and Literature 9 (1973): 91-94. McGiynn, Paul D. "The Chronology of'A Rose for Emily.'" Studies in Short Fiction 6 (Summer 1969): 461-62. Mellard, James M. "Faulkner's Miss Emily and Blake's 'Sick Rose': 'Invisible Worm,' Nachtraglichkeit, and Retrospective Gothic." The Faulkner Journal (1986): 37-45. Nebeker, Helen E. "Chronology Revised." Studies in Short Fiction 8 (Summer 1971): 471-73. ---. "Emily's Rose of Love: Thematic Implications ofPoint of View in Faulkner's 'A Rose for Emily.'" RMMLA Bulletin 24 (1970): 3-13. Rodgers, Lawrence R. "'We All Said, "She Will Kill Herself": The NarratorlDetective in William Faulkner's 'ARose for Emily.'" Clues 16.1 (Spring-Summer 1995): 117-29. Rodman, Isaac. "Irony and Isolation: Narrative Distance in Faulkner's' A Rose for Emily. '" The Faulkner Journal 8 (1993): 3-12. Scherting, Jack. "Emily Grierson's Oedipus Complex: Motif, Motive, and Meaning in Faulkner's "A Rose for Emily.'" Studies in Short Fiction 17.4 (1980): 397-405. Stevens, Aretta J. "Faulkner and 'Helen': A Further Note." Poe Newsletter 1 (October 1968): 31. Stewart, James Tate. "Miss Havishamand Miss Grierson." Furman Studies 6 (Fa111958): 21-23. Stronks, James. "A Poe Source for Faulkner? 'To Helen' and 'A Rose for Emily. '" Poe Newsletter 1 (April 1968): 11. Sullivan, Ruth. "The Narrator in 'A Rose for Emily. '" Journal ofNarrative Technique 1 (September 1971): 159-78. Weaks, Mary Louise. "The Meaning of Miss Emily's Rose." Notes on Contempormy Literature ] 1.5 (November 1981): 11-12.

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