Through the mysterious figure of Emily Grierson, Faulkner conveys the struggle that comes from trying to maintain tradition in the face of widespread, radical change. Jefferson is at a crossroads, embracing a modern, more commercial future while still perched on the edge of the past, from the faded glory of the Grierson home to the town cemetery where anonymous Civil War soldiers have been laid to rest. Emily herself is a tradition, steadfastly staying the same over the years despite many changes in her community. She is in many ways a mixed blessing. As a living monument to the past, she represents the traditions that people wish to respect and honor; however, she is also a burden and entirely cut off from the outside world, nursing eccentricities that others cannot understand.
Emily lives in a timeless vacuum and world of her own making. Refusing to have metallic numbers affixed to the side of her house when the town receives modern mail service, she is out of touch with the reality that constantly threatens to break through her carefully sealed perimeters. Garages and cotton gins have replaced the grand antebellum homes. The aldermen try to break with the unofficial agreement about taxes once forged between Colonel Sartoris and Emily. This new and younger generation of leaders brings in Homer’s company to pave the sidewalks. Although Jefferson still highly regards traditional notions of honor and reputation, the narrator is critical of the old men in their Confederate uniforms who gather for Emily’s funeral. For them as for her, time is relative. The past is not a faint glimmer but an ever-present, idealized realm. Emily’s macabre bridal chamber is an extreme attempt to stop time and prevent change, although doing so comes at the expense of human life.
Death hangs over “A Rose for Emily,” from the narrator’s mention of Emily’s death at the beginning of the story through the description of Emily’s death-haunted life to the foundering of tradition in the face of modern changes. In every case, death prevails over every attempt to master it. Emily, a fixture in the community, gives in to death slowly. The narrator compares her to a drowned woman, a bloated and pale figure left too long in the water. In the same description, he refers to her small, spare skeleton—she is practically dead on her feet. Emily stands as an emblem of the Old South, a grand lady whose respectability and charm rapidly decline through the years, much like the outdated sensibilities the Griersons represent. The death of the old social order will prevail, despite many townspeople’s attempts to stay true to the old ways.
Emily attempts to exert power over death by denying the fact of death itself. Her bizarre relationship to the dead bodies of the men she has loved—her necrophilia—is revealed first when her father dies. Unable to admit that he has died, Emily clings to the controlling paternal figure whose denial and control became the only—yet extreme—form of love she knew. She gives up his body only reluctantly. When Homer dies, Emily refuses to acknowledge it once again—although this time, she herself was responsible for bringing about the death. In killing Homer, she was able to keep him near her. However, Homer’s lifelessness rendered him permanently distant. Emily and Homer’s grotesque marriage reveals Emily’s disturbing attempt to fuse life and death. However, death ultimately triumphs.
Emily is the subject of the intense, controlling gaze of the narrator and residents of Jefferson. In lieu of an actual connection to Emily, the townspeople create subjective and often distorted interpretations of the woman they know little about. They attend her funeral under the guise of respect and honor, but they really want to satisfy their lurid curiosity about the town’s most notable eccentric. One of the ironic dimensions of the story is that for all the gossip and theorizing, no one guesses the perverse extent of Emily’s true nature.
For most of the story, Emily is seen only from a distance, by people who watch her through the windows or who glimpse her in her doorway. The narrator refers to her as an object—an “idol.” This pattern changes briefly during her courtship with Homer Barron, when she leaves her house and is frequently out in the world. However, others spy on her just as avidly, and she is still relegated to the role of object, a distant figure who takes on character according to the whims of those who watch her. In this sense, the act of watching is powerful because it replaces an actual human presence with a made-up narrative that changes depending on who is doing the watching. No one knows the Emily that exists beyond what they can see, and her true self is visible to them only after she dies and her secrets are revealed.
A pall of dust hangs over the story, underscoring the decay and decline that figure so prominently. The dust throughout Emily’s house is a fitting accompaniment to the faded lives within. When the aldermen arrive to try and secure Emily’s annual tax payment, the house smells of “dust and disuse.” As they seat themselves, the movement stirs dust all around them, and it slowly rises, roiling about their thighs and catching the slim beam of sunlight entering the room. The house is a place of stasis, where regrets and memories have remained undisturbed. In a way, the dust is a protective presence; the aldermen cannot penetrate Emily’s murky relationship with reality. The layers of dust also suggest the cloud of obscurity that hides Emily’s true nature and the secrets her house contains. In the final scene, the dust is an oppressive presence that seems to emanate from Homer’s dead body. The dust, which is everywhere, seems even more horrible here.
Emily’s house, like Emily herself, is a monument, the only remaining emblem of a dying world of Southern aristocracy. The outside of the large, square frame house is lavishly decorated. The cupolas, spires, and scrolled balconies are the hallmarks of a decadent style of architecture that became popular in the 1870s. By the time the story takes place, much has changed. The street and neighborhood, at one time affluent, pristine, and privileged, have lost their standing as the realm of the elite. The house is in some ways an extension of Emily: it bares its “stubborn and coquettish decay” to the town’s residents. It is a testament to the endurance and preservation of tradition but now seems out of place among the cotton wagons, gasoline pumps, and other industrial trappings that surround it—just as the South’s old values are out of place in a changing society.
Emily’s house also represents alienation, mental illness, and death. It is a shrine to the living past, and the sealed upstairs bedroom is her macabre trophy room where she preserves the man she would not allow to leave her. As when the group of men sprinkled lime along the foundation to counteract the stench of rotting flesh, the townspeople skulk along the edges of Emily’s life and property. The house, like its owner, is an object of fascination for them. They project their own lurid fantasies and interpretations onto the crumbling edifice and mysterious figure inside. Emily’s death is a chance for them to gain access to this forbidden realm and confirm their wildest notions and most sensationalistic suppositions about what had occurred on the inside.
The strand of hair is a reminder of love lost and the often perverse things people do in their pursuit of happiness. The strand of hair also reveals the inner life of a woman who, despite her eccentricities, was committed to living life on her own terms and not submitting her behavior, no matter how shocking, to the approval of others. Emily subscribes to her own moral code and occupies a world of her own invention, where even murder is permissible. The narrator foreshadows the discovery of the long strand of hair on the pillow when he describes the physical transformation that Emily undergoes as she ages. Her hair grows more and more grizzled until it becomes a “vigorous iron-gray.” The strand of hair ultimately stands as the last vestige of a life left to languish and decay, much like the body of Emily’s former lover.
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