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Get feedback on grammar, clarity, concision and logic instantly. All she ever wanted was a family to love her and her to love. He lead her into a life of solitude and impossible to escape.


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The death of her father was the main tragedy that leads to her life falling apart Research Papers words 1. There are ways to avoid becoming distant. At one point Emily was exceptionally strange and mysterious Research Papers words 2.

Zooey and Emily Deschanel head to the Oscars to support their father

Miss Emily finds herself completely isolated from other people her entire life, yet somehow manages to continue on with her head held high. French philosopher and writer Voltaire said "We are rarely proud when we are alone," but Miss Emily's case is quite the opposite. The strength that Miss Emily gains from pride is what helps her through the loneliest of times. Miss Emily doesn't choose to be lonely, as no one ever does, but her path is chosen for her at an early age Free Essays words 1. Although things gave gotten better on women oppression by men is still there.

And when she secludes herself this time, the townspeople reason that it is "as if that quality of her father which had thwarted her woman's life so many times had been too virulent and too furious to die" CS That same Grierson pride of her father is too virulent, or poisonous, to die and allow her to marry. The word virulent is interesting in that it not only means "poisonous" or "malignant"--obviously Homer is poisoned, and Mr.

Grierson's pride becomes a malignant cancer that spreads to his daughter--but also plays off the word virile, meaning "capable of procreating" or "manly. Grierson's poison is so malignant that it destroys his daughter's opportunity for procreation and transforms the womanly part of her into manliness. When Emily finally does appear again, she has vigorous iron-gray hair, like that of an active man, until she dies at the age of seventy-four CS This same hair appears on the pillow next to Homer, whom the unnatural "manly" part of Emily killed, but to whom the "womanly" part of Emily still clings.

In Section II, the juxtaposition of the upstairs window portrait and young virgin tableau CS emphasizes the inversion of these two images and provides some clues to Emily's motives for murder. If the upstairs portrait is an inversion of dominance through the act of murder, the motive may be as well.

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Grierson's motive for driving off Emily's suitors is based on a romantic vision of virginity. Practically, Emily is an economically feasible commodity through marriage, and Mr. Grierson, who died penniless, needs the money.

But he rejects marriage to place her on a pedestal as a perpetual virgin: a symbol of courtly love, of a holy quest, and of a long-lost feudal system that prefigures the antebellum South's reverence for a "noble" Grierson name. For Emily, however, marriage is a more practical concern than virginity. Marriage is a practical concern, for it defines her social and economic status for the rest of her life. Virginity is not the issue for Emily.

Despite Mr. Grierson's and the townspeople's obsession with her virginity, Emily probably experiences intercourse before the murder. Her appellation throughout the story shifts from "Miss Emily," emphasizing her virginal and unmarried state, to "poor Emily," suggesting the despoiled virgin.

The title of the story is "A Rose for Emily. As such, the title would read "A Vagina for Emily. And he is a cuckold, a term that by definition can apply only to a married man, even if married only by deed. Marriage--not virginity--is Emily's primary concern. If Emily marries Homer, she must give up her Grierson name--with all its implied worth--to take Homer Barron's name.

As his wife, Emily would be barren of social position; but without him Emily is literally barren of childbearing and physical and emotional intimacy. Notably, Homer's initials are tarnished into obscurity on his silver toilet set, a possible betrothal present. Silver is an inferior metal to gold, but, more important, the initials, symbolic of the offending name, are erased. Through death, Emily attempts to keep some semblance of marriage without the transference of Homer Barron's name. Until the angel portrait in Section III, the picture placements are reversed chronologically, moving backward to the structural center of the story that returns Emily to her most innocent state.

She is a girl again even though over thirty. Her father is no longer alive to drive off suitors. She doesn't need to protect the Grierson myth, for the money is gone and her poverty "humanizes" CS her. And even though Homer has professed that he is not the marrying type, he does return after the cousins leave.

Why, then, does Emily choose to kill her only chance for physical and emotional intimacy? The whip is the final pictorial clue, and a very practical one. Her father held the horsewhip when she was a young woman; however, when she and Homer go buggy riding, Homer holds the whip, along with the reins.

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To marry Homer would again transfer control into the hands of a man, one whom she could not trust with her well-being any more than she could trust her father, for Homer liked men, drank with the younger men at the Elks' Club, and was not the marrying type CS Through the violence whip of murder, Emily figuratively takes over the reins of her life. The downstairs window in Section IV restores Emily as the town icon -- the last Grierson, a nomenclature that reflects the romanticism of the townspeople themselves.

Even when successive generations veer from their fathers' more romantic notions, Emily remains "a tradition, a duty, a care; a sort of hereditary obligation upon the town" CS As part of their "hereditary obligation," the townspeople not only remit her taxes, but perhaps condone murder. At her funeral, they know there is a door they will have to force CS , implying they suspect Homer's demise. Yet they do nothing during her lifetime. Despite all evidence, the townspeople place Emily on a pedestal.

When they believe she is "fallen," they declare that she "carried her head high enough [. This term elevates a penniless, eccentric old maid to the status of nobility merely because her lineage links her to the Old South. The townspeople force Emily, as part of her obligation, to conform to their romantic vision of the "last Grierson," effectually depriving her of both love and responsibility.

To that end, they are no better than Mr. Grierson, for neither her needs nor her deeds matter. Section V returns to the first and only literal portrait mentioned in the story, the crayon picture of the father, as he "muses profoundly" CS at his daughter's funeral. Read more about Emily Brown and the Thing. That Rabbit Belongs to Emily Brown. Search the site Search term is required. Emily Brown and Father Christmas. Christmas picture books to treasure Christmas is the perfect time to settle down with your family for a story - and these lovely picture books are sure to do the trick. Read this book?

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