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among eyesores is being related to the South because after the war the South was worn down from the constant battles of the war.
Emily comes from an upper class family and grew up privileged and protected by her father. An agreement between her father and Colonel Sartoris, a character we assume was a veteran of the Civil War and who also represented the old South with his edict that no Negro woman should appear on the streets without an apron, exempted her from paying taxes. Col. Satoris invented a tale that her father had loaned money to the town and this was the way that the town would repay the debt. The authorities decide to pay Emily a visit to try to collect the taxes due the town. When we are introduced to Emily, she is described as
being in black—the color of death—and her eyes are lifeless…"two small pieces of coal". I thought of a corpse when reading that "she looked bloated, like a body long submerged in motionless water, and of that pallid hue" – representing the dying, old traditions in the South. The tarnished gold head on her black cane is the one reminder of her affluent, upper class position of years ago. When asked if she got the tax notice from the sheriff, Emily claims she has no taxes to pay and refers them to Colonel Sartoris who has been dead for ten years – another indication of Emily’s living in the past.
In Part 2, Emily’s father dies. When he was alive, he took care of all of her economic needs. She refuses to accept the fact that he has passed on. She hangs onto him for three days after his passing and tells visitors that he is not dead. She finally breaks down and allows the body to be taken away for burial. I
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believe this shows how the South, in general, is having a hard time letting go of the losses they suffered in the war – not just the battles, but the loss of their family members and the economic suffering felt during that time.
The "only sign of life" in Emily's home after her father’s death is the young Negro servant who gardens and cooks for her. In fact, it is apparent that Emily would have died years earlier if he had not taken care of her. To me, Faulkner is suggesting that the South will die, or certainly not progress, unless its culture changes and it accepts the Negro as a vital part of society.
While Emily has been hiding in her house after her father’s death, a construction company comes into Jefferson to pave the sidewalks, and the
crew's boss begins courting her. He is Homer Barron, a Yankee, described as a big, dark man who drank with the young men (the new generation). Homer represents the Yankee attitudes of the time. But Faulkner also places Homer in a buggy with yellow wheels, and even though he carries a whip like Emily’s father did, he wears yellow gloves. I believe the author’s intent here, by using the yellow color of cowardice, was to illustrate that Homer was afraid of marrying Emily. Faulkner is trying to show that the North is afraid of trusting the South. If I were a Yankee coming into the South to help with reconstruction I would have trouble trusting the Southerners too because of the war they just came from.
The town pitied "poor Emily," thinking she was going crazy, seeing a Yankee and forgetting about proper behavior fitting a lady that grew up in the South. A year after she starts a relationship with Homer, she asks the druggist
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for the best poison he has – arsenic, which is the color gray in its most common form. Gray, like the Confederate uniform. When the druggist looks at Emily, she stands erect and looks back at him with "her face like a strained flag". I believe Faulkner is referring to the Confederate flag and that Emily's face looked like a strained flag during a battle in the Civil War. He is also using the poison to describe a Confederate’s weapon to kill a Yankee just like the weapon (arsenic) she is going to use it to kill Homer Barron (who represents the North).
Emily disappears for some time after the last time we see Homer Barron, and when we see her again, Faulkner effectively uses the color gray to describe her. "When we next saw Miss Emily, she had grown fat and her hair was turning
gray. During the next few years it grew grayer and grayer until it attained an even pepper-and-salt iron-gray, when it ceased turning. Up to the day of her death at seventy-four it was still that vigorous iron-gray, like the hair of an active man." I believe Faulkner has strengthened his symbolic reference to the South and by comparing her gray hair to that of an active man, he is even suggesting a Confederate soldier. The gray used throughout the story could also represent aging and eventual death.
The old men who come to Emily's funeral dress in their Confederate uniforms. They, too, are living in the past. But unlike Emily, who totally retreated to the past, theirs is separated by the most recent decade, described as a "narrow bottle-neck" – progress is slow in Jefferson, and the past won't be forgotten, but change will come.
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When the authorities break into the locked upstairs room, they discover the skeleton of Homer Barron lying on the bed. The bedroom is decorated in rose, the color of blood, but everything is covered with dust. I believe that the rose pedals represent the blood that was shed by the soldiers of the North and South in the Civil War, which are represented by both Emily and Homer. The dust on top of the roses represents the battlegrounds today. The blood that was once there has been covered up by new soil because the war was so long ago. Just like when they find Emily and Homer dead in her house, they had been dead for a long time, like the soldiers of the war. The rose-colored room could also
represent optimism. Perhaps Faulkner is suggesting that the old attitudes of both the North and the South must die in order for the two to be one. This is supported by the fact that the old Negro servant disappears upon Emily's death and after the new generation has entered the house.
Faulkner’s play on words throughout this story depict conflict of the old and new South. Emily definitely represented the dying old traditions of the post-civil war South. Only after her death did the “new generation” begin to prosper and change.
Works Cited
Cox, Lawanda C. Fenlanson. Freedom, racism, and Reconstruction: collected
writings of LaWanda Cox. Athens, GA: University of Georgia Press, 1997