“A Rose for Emily” . is a narrative written by William Faulkner. who wrote many narratives which include Sartoris. The Sound and the Fury. and As I Lay Diing ( DLB. 1991 ) . In “A Rose for Emily” . the reader sees a adult female. Emily Grierson. who lives a life of solitariness. and how her attitude alterations with this solitariness. Emily Grierson’s solitariness can be attributed to three chief factors: her male parent. her privy life style. and Homer Barron’s rejection.

Charlotte Perkins Gilman wrote a narrative named “The Yellow Wallpaper” . It is a narrative of a adult female who becomes insane by wallpaper in the room. After going female parent of a kid. she was diagnosed craze. The adult female filled in her head the xanthous wallpaper and began to move deranged. The rubric. The Yellow Wallpaper. is good suited for this narrative as it plays a polar function in typifying what the adult female trades with twenty-four hours & A ; dark ; the wallpaper becomes a symbol for the grounds of her insanity.

Comparison and Contrast of “The Yellow Wallpaper” and “A Rose for Emily”

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William Faulkner’s “A Rose for Emily. ” is about a adult female who became insane by her male parent. who this status kills her last suer. Homer Baron. Emily was easy driven into insanity by her male parent and other males throughout her life. Initially she was immature and was a slight figure in white. contrasted with her male parent. who is described as a straddled silhouette. The Grierson house. was white. decorated with cupolas and steeples and scrolled balconies. becomes a farther representation of her lessened province. as she transitions toward insanity. In its best times. the house was large. squarish and located on Jefferson’s most selected street. Sing the house from this position gives the reader the feeling that the house was non merely really solid. but besides larger than life. and Gothic in nature.

Emily. a occupant of that house. was besides perceived in the same mode. However. Emily failed to keep this image of strength as male figures. such as her male parent and Homer Baron caused her great embarrassment. After her father’s decease. Emily was left without wealth. except for the house. After her father’s decease she began to deteriorate. and looked like a miss with a obscure resemblance to those angels in coloured church windows – kind of tragic and serene. bespeaking her progressively weakened image as a measure towards insanity. The house besides comes to reflect Emily’s decay as it obtains a obstinate and flirtatious visual aspect. The interior of the house. which comes to stand for Emily’s mental province. every bit good as her interior ideas. besides smelled of dust and neglect. ( William Faulkner. 2003 )

Much like Faulkner. Gillman uses the Gothic elements of the house in which the supporter resides in order to mirror traits of her character. Gillman used many Gothic elements in the narrative “The Yellow Wallpaper” . The abode that the hubby rents for the summer every bit good as the immediate milieus is presented right from the beginning of the narrative. It is a privy placed topographic point three stat mis from the small town ; this location represents an stray environment. Because it was a colonial sign of the zodiac. it obtains a Gothic manner as if it is haunted by shades.

The haunted house contains a delightful garden. velvet hayfields. antique flowers. and shrubs and trees that come from broken green houses and overgrown roses suggest a dark green brown expression. The garden has deep-shaded arbores. which are besides Gothic elements. The dirty yellow of the wallpaper is queerly faded by the slow-turning sunshine ; it is a repellant. about revolting xanthous. and a dull yet lurid orange. The rings on the walls. the barricaded Windowss. and the nailed down bed all farther support this dark atmosphere that persists in throughout narrative. ( Howells. 1920 )

Additionally. these elements are used to stand for and typify the character’s mental status as she is undergoing this ill-treatment by her hubby. Jane becomes obsessed with the xanthous wallpaper that is present in her room. It becomes a contemplation of her mental province. going more complex and distorted as her status worsens. “This paper looks to me as if it knew what a barbarous influence it had…the pattern lolls like a broken cervix and two bulblike eyes stare at you upside down. ” in which Jane could be speaking about herself. her influence and strength that is non seen and suppressed doing it look like a horrid animal. Furthermore we see a reoccurring Gothic image of broken cervixs and hanging caputs. common in people who are hung. These Images of hanging people. which could bespeak self-destructive inclinations in Jane come up more frequently as her status worsens. “They all of a sudden commit suicide-plunge off at hideous angles. destruct themselves. ”

Miss Emily is so lonely is because of Homer Barron’s rejection. When Homer Barron. a building company chief. enters the scene. the townspeople notice that he and Emily get down passing a great sum of clip together. They say things such as “She will get married him” . “They are married” . and “She will carry him yet” . Although Homer is said to homosexual. Emily hopes that this will one twenty-four hours be the adult male to stop her solitariness. She is found to hold bought men’s vesture and besides toilet articless with the initials H. B. on them. However. Homer’s attractive force to work forces makes Emily covetous. and he says in his ain words that he is non a marrying adult male.

At this. Emily begins to fear rejection and a complete life-time of solitariness. When this is realized. Emily begins to crumple. and in a tantrum of both passion and insanity. Emily toxicants Homer Barron. and keeps his organic structure so that he will be hers everlastingly. For 40 old ages. Homer Barron’s cadaver lies on a bed in an upstairs room. The organic structure is positioned in an “attitude of an embrace” ( 171 ) . and there is said to be “a long strand of iron-grey hair” on the pillow beside him. Therefore. after she murdered Homer. Emily would lie beside him. and in an insane manner. she would alleviate a part of her solitariness. ( Birk. 1997 )

Another Gothic and fabulous component used to picture the insanity of the supporter is the image of crawling adult females behind the walls and in the gardens of the house. These crawling adult females who are seen by Jane are all images of her multiple egos as she sees them everyplace. She even comes to state us that she creeps by daytime and that she locks the doors when she does so As her status worsens the suppressed personalities that lurked within the protagonist’s subconscious become stronger and look more as The forepart form does move-and no admiration! The adult female behind shingles it. In daylight when she is watched and people are around her and she feels in topographic point with society in the really bright musca volitanss she keeps still. but in secret as her status gets stronger. in the really fly-by-night musca volitanss she merely takes clasp of the bars and agitate them hard…she is all the clip seeking to mount through.

The premise does non assist her illness. in fact. Jane ; the storyteller believes that it’s the ground why she can non acquire better. But it is unpointed for her to reason. since her brother ; besides a doctor of high standings affirms the diagnosing. She is non allowed to hold her sentiment ; it is dismissed every bit shortly as it is said. She feels guilty to even believe her hubby is incorrect about her illness. as she take strivings to command myself – before him at least. and that makes me really tired. Jane has her sentiments. but to no help. she has to take her husband’s orders. ( Gilbert & A ; Susan. 1979 )

The alterations between twenty-four hours and dark times. add to the cryptic scene in which Jane is placed in. The concluding. strongest personality starts to insulate itself within her as that personality “gets out in the daytime” . In the concluding dark before they leave the concluding passage takes place the new personality surfaces. “I’ve got out at last. ” and goes on to mention to the hubby and the old personality as “you and Jane. ” mentioning to her old ego in the 3rd individual as she is now a new and transformed personality that cant be put back. and she goes on crawling and creeping around the room.

Gillman’s “The Yellow Wallpaper” portions many other similarities with Faulkner’s “A Rose for Emily. ” In “The Yellow Wallpaper. ” the supporter is driven into insanity by her hubby. who ill-treats her. The hubby in “The xanthous Wallpaper” is moving towards the female character out of love. In both instances they drive the female character insane. This is besides the instance with Emily as she is driven insane by her male parent and Homer. The Yellow Wallpaper uses the Gothic house and the wallpaper as a representation of the female characters mental province. whereas Faulkner displays the male character through the house.

Emily. like Jane. reflected the house itself. In “The xanthous Wallpaper. ” Jane’s impairment is described in much more item in comparing to the other two pieces. When comparing “The Yellow Wallpaper” with “A Rose for Emily” . we find that both Emily Grierson and Jane are forced into purdah by the control the males have over them. Emily’s father culls all of her possible hubbies ; Jane’s hubby isolates her from any possible stimulation. Emily is a hermit ensnared in a condemned place. and Jane is a delusional adult female trapped in a mental ward. Ultimately. when sing the different manners of these writers. and the different subjects of these narratives. it is interesting to see how the use of Gothic elements in depicting the houses is used to body the characters.


In decision. Emily Grierson suffered a harsh and alone life. Her father’s refusal to let suers was inconsiderate and selfish. She was left with merely him. and after his decease. she was entirely. She had no 1 to turn to. and if she hadn’t been a pauper. she would hold been out on the street. Her determinations to except herself from the town and to maintain her life private and cryptic did non assist her province of solitariness. but made things worse. She was puting herself up for a complete life-time of purdah.

At the acknowledgment that Homer Barron would non get married her. she became huffy with fury. It was her last opportunity to stop her isolation and to happen a adult male to love her. At this rejection. Emily Grierson took Homer’s life. and kept his organic structure locked off for her pleasance. Her life-time of solitariness had eventually caught up to her. and she had become insane because of the hurting and heartache which had become such a enormous load in her life.

The Yellow Wallpaper is written at a clip when women’s wellness issues were non of import. Work forces used their theories to organize medical groups. It was non the clip for adult females. all the work forces expect that the adult females will populate under their control and obey their orders. In this narrative the adult females tried to take control over their hubbies and battle for their freedom.


The Dictionary of Literary Biography ( DLB ) . Vol. 102: American Short Story Writers 1910-1945. Ed. Bobby Ellen Kimbel. Gde Research. London. 1991. p. 78-81

William Faulkner. “A Rose for Emily. ” Detecting Literature: Narratives. Poems. and Plays. 3rd erectile dysfunction. Eds. Hans P. Guth and Gabriele Rico. Upper Saddle River. N. J. Prentice Hall. 2003. p. 165-172.

Birk. John F. ”Tryst Beyond Time: Faulkner’s Emily and Keats. ” In Surveies
in Short Fiction. Vol. 28. No. 2. Spring 1997. pp. 203-13.

Hedges. Elaine R. . An afterword to The Yellow Wallpaper. by Charlotte Perkins Gilman. Feminist Press. 1973. pp. 37-63

Howells. William Dean. “A Evocative Introduction. ” in The Great Modern American Narratives: An Anthology. Bom and Livenght. 1920. pp. vii-xiv.

Gilbert. Sandra M. . and Susan Gubar. “Infection in the Sentence: The Woman Writer and the Anxiety of Authorship. ” in The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. Yale University Press. 1979. pp. 45-92.


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