A Rose For Emily And Soldiers Home Analysis

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ENGL 2328
Rachel Hebert
27 November 2017

Comparison of Setting, Rhetorical Devices and Structure of "A Rose for Emily" and "Soldier's Home"
William Faulkner's short story "A Rose for Emily" was initially distributed in an April 1930 version of Saturday Evening Post. It is a gothic grotesque, and at first look seems to have little in the same way as the short story, "Soldier's Home" by Ernest Hemingway. Hemingway's story gives off an impression of being the tale of a soldier recently returned home from benefit in World War I. "A Rose for Emily" seems, by all accounts, to be the straight forward record of the life of a southern aristocrat, a delicate lady who appears to have made due into a later age, and stands, in the story,
Hemmingway's narrator, then again, is lifeless and flat, and keeping in mind that he might be omniscient, he isn't expressive, and shares little with the peruser other than the no frills of need. The two works are both alike in some ways and unalike in others. "A Rose for Emily" is a tale of the last days of what was at one time the post-bellum American South, and is viewed as a grotesque. It inspires the spirit of Mary Shelly or even Bram Stoker in its closeness to unadulterated horror. The peruser discovers that not exclusively is the developed and exceptionally legitimate Miss Emily Grierson a murderess, having poisoned her lover, however is a necrophile, lying down with the spoiling corpse every night of her life. "What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay," (Faulkner 59) the narrator says, depicting the presence of the corpse in Emily Grierson's bed. In this manner she has passed her grown-up life, behind the shut entryways of her rotting gothic mansion, experienced her days in respectable destitution while keeping up the figment that she is still what she and her family had once been. At her death the town accumulates, both to pay regards to a vanished Americana and to see firsthand the inward sanctum of a legend. Harold Krebs, Hemingway's protagonist, likewise has selected
Still this unknown voice likewise demonstrates the reader the perversity and the craziness intrinsic in the character. She, as Harold Krebs of "Soldier's Home", has selected to drop out of life and let it go by unexamined. Harold, returning late from the war finds that it is never again news, and nobody cares what he did or why he did it. Indeed, even his cherishing mother is prepared for him to start his life. She is cited as inquiring, "Have you decided what you are going to do yet, Harold?" (Hemingway 115). He is a great case of the familiar maxim that God and the soldier are both disregarded once risk has