There are a number of items that may be considered
            symbolic in William Faulkner's "A Rose For Emily."
The
            first is the "rose" mentioned in the title. Michael Ferber in
            A Dictionary of Literary Symbols
            writes:
Almost
any flower can represent a girl, but the rose has always stood for the most beautiful,
the most beloved.
There is
            also the reference, noted by Ferber, that the rose is something with a short life, but
            the rose is also something that has thorns. Emily Grierson is a
            rose: for a time she may have felt greatly loved by Homer Baron (or
            perceived his attentions as such); the relationship between the two
            was short-lived—and Emily's chance at love dies quickly; and, without a doubt, by the
            story's end, we know that Emily had
            "thorns."
In some ways, Emily may symbolize an
            old way of life. When her father was alive, she was the picture of propriety.
            When he died, Colonel Sartoris, in the manner of an old Southern gentleman (coming to
            the aid of a "defenseless young woman") deferred her taxes for the remainder of her
            life. However, she became more independent: for example, she does not live with another
            woman in the house, and goes out riding unchaperoned with Homer—she may well represent
            the decline of the South over time.
Emily is referred to as
            a "fallen monument." This might refer to the
            fact that she was once symbolic of the upper-crust of society and has fallen on hard
            times, lacking a means of support. Her house is old and falling apart—it has seen better
            days, as has Emily. So while she may have been put on a pedestal by some, those days are
            gone. However, there is also the sense that "fallen" could
            symbolize her sexual relationship with Homer, as unmarried women who engaged in sex
            before marriage were called "fallen" women.
There are
            numerous references to dust. When the representatives of the
            community come to her home to collect Miss Emily's taxes, the house smells old, and as
            they sit, the dust begins to move around them.
readability="7">
It smelled of dust and disuse—a close dank
            smell...and when they sat down, a faint dust rose sluggishly about their
            thighs...
The dust may
            symbolize death, and may even then foreshadow the discovery of Homer's body later in the
            story.
The
breaking of the door seemed to fill this room with pervading dust...A thin acrid pall as
of the tomb seemed to lie everywhere...Among [the man's toilet things] lay collar and
tie...which, lifted, left upon the surface a pale crescent in the
dust.
Looking at the body,
            having rested in the bed so long, Faulkner describes the dust
            again:
...upon
him and upon the pillow beside him lay that even coating of the patient and biding
dust.
It is interesting to
            remember what is often said at funerals—"ashes to ashes, dust to dust"
            which...
readability="6.5333333333333">
...is based on scriptural [text]
            such as "Dust thou art, and unto dust thou shalt return" (            href="http://en.wikipedia.org/wiki/Book_of_Genesis">Genesis
            3:19).
Smell is mentioned
            several times. It also seems to by symbolic of death and/or decay. When the men visit
            the house at the beginning of the story (to collect taxes), the house smells—"of dust
            and disuse"—like a tomb. Later in the story there is the incident of the terrible smell
            coming from Miss Emily's home: we later learn that it was a dead body. Finally, at the
            end of the story, the "bridal room" smells:
readability="6">
...and leaning forward, that faint and invisible
            dust dry and acrid in the
            nostrils...
Additional
            Source:
Ferber, Michael. A
            Dictionary of Literary Symbols. New York: Cambridge University Press,
            1999.
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