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Annotated Bibliography Entry
1. Works Cited Item:
Kriewald, Gary L. “THE WIDOW OF WINDSOR AND THE SPINSTER OF JEFFERSON: A
POSSIBLE SOURCE FOR FAULKNER’S EMILY GRIERSON.” Faulkner Journal,
vol. 19, no.1, Fall 2003, p3-10. 8p. Academic Search Complete,
web.b.ebscohost.com.libproxy.troy.edu/.Accessed 26 Oct,2017.
2. Main idea of entire article
The whole article describes and analyzes the possible sources for Faulkner’s Emily
Grierson.
3. The main idea of each paragraph given:
Paragraph 1: Scholars and critics both agree that the story unfolds through episodes
that reflect the thematic contrast between past and present.
2. Joseph Blotner thinks that Faulkner’s character was based on Faulkner’s cousin,
Mary Louise Neilson.
3. Peter Hayes nominates a more compelling candidate for Emily Grierson’s
prototype–a “white-garbed, father dominated, unmarried, inflexible recluse: Emily
Dickinson”, and he gives some reasons.
4. Most readers of “A Rose for Emily,” however, are not left with an impression of
Faulkner’s heroine as a Dickinson-like wraith whose reclusion is wholly due to a
combination of psychological aberration and emotional frailty.
5. Emily is “above the law”, which reflects her unique position in Jefferson.
6. After writing A Rose for Emily, Strachey’s reputation as a biographer and belletrist
is well established in Britain and in the United States.
7. In her appearance, her mannerisms, her majestic self-assurance, and her
unfaltering devotion to the traditions of her class, Emily Grierson duplicates the most
prominent traits of her royal prototype.
8. When the deputation of aldermen arrives to demand that Emily pay the taxes she
owes the town, it is clear that Faulkner sets the scene to suggest a monarch granting
her subjects an audience.
9. Even as a much younger woman, Emily demonstrates her impressive ability to
silence anyone intent on thwarting her will or infringing on her privilege.
10. From the social movements of her time, Victoria was equally remote. Towards
the smallest no less than towards the greatest changes she remained inflexible.
11. The key event in the story is, of course, Emily’s abortive affair with the Yankee
“day laborer,” Homer Barron.
12. The man himself lay in the bed. (CS 129-30)
13. Emily’s actions have a parallel in those of Queen Victoria though, of course,
history does not accuse the British monarch of perpetrating heinous crimes or
transgressing moral conventions.
14. After Homer Barron’s disappearance, Emily embarks on a long period of seclusion,
which, except for an interval of “six or seven years” when she gives china painting
lessons to children, continues for the rest of her life.
15. Like Emily, Victoria reacted to the death of her beloved by cutting herself off
from the rest of the world.
16. Victoria’s transformation from the Queen of England to the Widow of Windsor
was complete.
17. Queen Victoria had become, for her people, more than the distant figurehead of
a constitutional monarchy.
4. Quotation:
Kriewald, Gary L, who thinks that Victoria’s reaction illustrates her minds are the
same as Emily’s, said,” For months, for years, she continued in the settled gloom.
Her life became one of almost complete seclusion. … Rarely visiting the capital,
refusing to take part in the ceremonies of state, shutting herself away from the
slightest intercourse with society, she became almost as unknown to her subjects as
some potentate of the East.”
5. Paraphrase of quotation.
To some degree, Victoria is very similar to Emily because Victoria’s reaction to the
death of her beloved is like Emily’s: Victoria disappeared from the world for a long
time due to her beloved’s death; she didn’t contact with anybody and stood away
from society, she became very mysterious at the end.
Overview: “Sonnet 29”
Poem, 1609
English Playwright (1564 – 1616 )
Poetry for Students. Ed. Mary Ruby and Ira Mark Milne. Vol.
8. Detroit: Gale, 2000. From Literature Resource Center.
Full Text: COPYRIGHT 2000 The Gale Group, COPYRIGHT 2007 Gale
Full Text:
Introduction
In this sonnetby William Shakespeare first published in 1609, the speaker’s
extreme anguish concerning his “state” piques his audience’s curiosity,
which is further heightened by the repetition of this word in lines 2, 10, and
14. Is he “outcast” because of his physical, mental, or emotional condition?
His fortune or social rank? His rejection from a lover, or from society? His
sexual orientation? It is tempting to read Shakespeare’s own life
into “Sonnet 29,” and consider his sometime unhappiness with his life in the
theater, or his alleged bisexuality; but one must always bear in mind that the
sonnets have never proven to be autobiographical. Though the cause of the
speaker’s pain remains a mystery, his cure is revealed: his religious devotion
to another mortal, not a higher being such as God, transports him to Edenic
bliss.
Plot
Line 1:
The opening word “when” qualifies the whole poem, and sets up “Sonnet
29” as an “if-then” statement. The speaker may not be out of luck or the
public’s favor at the moment, at all. However, the strong emotions exhibited
in the following lines suggest that these feelings of isolation and despair are
not unfamiliar to him; indeed, by line 9, he seems to gain a certain
satisfaction from wallowing in his self-pity.
Line 2:
The repetition of the word “state” in lines 2, 10, and 14 indicates its
significance in the poem. But its many levels of meaning prevent the reader
from understanding the cause of the speaker’s rejection: “state” may signify a
condition, a state of mind, an estate or a person’s status. However, the
adjective “outcast” does possess a religious connotation (as in “outcast from
Eden”) that is evident again in the sonnet’s last three lines.
Lines 3-4:
The speaker’s skyward wails receive no reply either from nature or from
God. Angered and feeling abandoned, the speaker resorts to bitter sarcasm
(when he facetiously remarks that he can “trouble” heaven) and swearing
(“cursed my fate”).
Line 5:
The second quatrain serves as the speaker’s wish list for ways in which he
might alter his “state.” Despite these lines, his condition remains almost as
ambiguous as ever. For example, someone “rich in hope” might be a more
hopeful person; alternately, it might be someone who has prospects of
wealth.
Lines 6-7:
The speaker continues to name the types of people he wishes to be like but
proceeds to use descriptions with obscure or multiple meanings. Not only
does “featured” have several definitions (“handsome” or “formed”, to name
two), but it refers to three possible types: those who are “rich in hope”, those
“with friends possessed,” and perhaps those indicated by the speaker’s
pointed finger as he recites the first half of line 6. The speaker’s admiration
of someone’s “art” may refer to his knowledge, abilities, or skills as a lover;
a man’s “scope” may be his freedom or his range of understanding.
Line 8:
This paradox is Shakespeare’s version of the cliche “the grass is always
greener on the other side”: whatever the speaker possesses or formerly took
pleasure in is now no longer a source of pride or amusement.
Lines 9-11:
After the speaker approaches his deepest depths of self-loathing in line 9, he
experiences a moment of transcendence and a remarkable change of heart.
By happy chance, his thoughts turn to his beloved; his spirits soar like a lark,
a bird known to fly straight up in the air as it sings its morning song. The
speaker’s comparison of his state to a lark’s ascending flight stands out as the
only figure of speech in “Sonnet 29,,” just as this solitary songbird is a
noticeable silhouette in the morning sky–and as the speaker had been set
apart from the rest of humanity. The bird’s rising motion represents the dawn
of a new day, a revival of spirits, and perhaps even a step up in rank; its song
fills the silence of the heavens and adds joy and life to what had been a dark,
depressing poem. It seems appropriate that “lark” is also a verb, meaning “to
play or frolic.”
Line 12:
Earth is described as “sullen” for several reasons: because of the dull color
of its soil, the sluggishness of its motion, and the general melancholy of its
inhabitants. The mood is very different for those who have risen above it–as
the lark literally has and the speaker has figuratively. The bird singing
praises to the heavens is equated with the speaker glorifying his own earthly
divinity.
Lines 13-14:
The “wealth” that is brought by memories of the speaker’s loved one has
several possible meanings, supported by the language of the previous lines.
Monetary wealth does not connect well with the idea of love, though it
would help a person who had fallen out of luck with material “Fortune” (line
1). A wealth of friends, talents, or opportunities were wished for in lines 5
through 8 and are all valid interpretations. But a strong possibility also lies
with the connection of wealth and religion. The speaker has been saved
through his worship of a very different “King” (line 14) than Christ; perhaps
his final state is so heavenly that he would rather be surrounded by
memories of his beloved than in any heavenly kingdom.
The speaker’s “state” has moved dramatically from that of miserable
hopelessness to pure elation. Though he still stands separate from
humankind, he now does so by choice.
Source Citation (MLA 8th Edition)
“Overview: ‘Sonnet 29’.” Poetry for Students, edited by Mary Ruby and Ira Mark Milne, vol. 8,
Gale, 2000. Literature Resource
Center, go.galegroup.com/ps/i.do?p=LitRC&sw=w&u=troy25957&v=2.1&id=GALE%7CH1430005302
&it=r&asid=2cf493f7627cfc4b04a3ef2239513bb3. Accessed 14 Nov. 2017.

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