Quote Sandwich Worksheet

i have downloaded a cop of the worksheet that need to be completed in the order it is writtenthen i will submit the article that goes with itQuote Sandwich Worksheet InstructionsInstructions: Imagine that you are writing a literary analysis paper about “A Rose for Emily” by William Faulkner. You have already written your thesis statement for the paper.Thesis statement: Secrets are a major theme in William Faulkner’s “A Rose for Emily.”  You have also planned out your body paragraphs. In one body paragraph, you need to incorporate your scholarly source: Laura J. Getty’s “On Faulkner’s ‘A Rose for Emily’” (M4S3). You have already written your topic sentence for this paragraph.Topic Sentence: Even the title of the short story, “A Rose for Emily,” suggests the presence of secrets. Now, select a quotation from Getty’s article (M4S3) specifically about the connection between the rose in the title of the short story and the idea of secrets to use in this body paragraph.  Finally, create a quote sandwich following the guidelines below.  Topic Sentence: Select a quote from Getty’s article that supports this already-developed topic sentence: Even the title of the short story, “A Rose for Emily,” suggests the presence of secrets.  Top of the Quote Sandwich Introduce Getty and give her credentials so that readers trust her as an expert (Google her if you need to). Tell your audience what it is Getty is writing about.Incorporate a signal verb or phrase followed by a comma.Middle of the Sandwich Copy and paste your selected quote from Getty and put quotation marks around it.Add an in-text citation at the end of the quote that includes the page number where you found the quote.Bottom of the Sandwich:Explain what the quote means in your own words.Tip: Do not say “this means” or “the article/source/evidence says.” Instead, use the author’s last name. If you are not sure how to do so, see the two examples below:”What so-in-so is saying is that…” – Replace so-in-so with the author’s last name. “In other words, what so-in-so is suggesting is that…” – Replace so-in-so with the author’s last name.” If you do not know who the author is, use the publisher.Why do we avoid “the article/source/evidence says”? When you refer to the source or article, you are providing metacommentary and breaking the frame of the reader. They are not supposed to be jostled out of your argument with a sudden source reference. You already signaled to them that you were referencing a source by introducing the author in a much more subtle way in the top of the sandwich.Write a sentence that explicitly connects what Laura J. Getty says about secrets to your thesis statement (Secrets are a major theme in William Faulkner’s “A Rose for Emily.”)Fill in the blanks below to create your quote sandwich and submit this worksheet for your assignment (M4A3).Topic sentence: Even the title of the short story, “A Rose for Emily,” suggests the presence of secrets.Top of sandwich: ____________________________________________________________________________________________________________________________________________________________________________________________________________________________ Middle of sandwich: __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Bottom of the sandwich: __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Disclaimer: This is a machine generated PDF of selected content from our products. This functionality is provided solely for your convenience and is in no way intended to replace original scanned PDF. Neither Cengage Learning nor its licensors make any representations or warranties with respect to the machine generated PDF. The PDF is automatically generated “AS IS” and “AS AVAILABLE” and are not retained in our systems. CENGAGE LEARNING AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Your use of the machine generated PDF is subject to all use restrictions contained in The Cengage Learning Subscription and License Agreement and/or the Gale Literature Terms and Conditions and by using the machine generated PDF functionality you agree to forgo any and all claims against Cengage Learning or its licensors for your use of the machine generated PDF functionality and any output derived therefrom.Faulkner’s ‘A Rose for Emily.’ Author: Laura J. Getty Date: Summer 2005  From: Explicator(Vol. 63, Issue 4) Reprint In: Short Story Criticism(Vol. 97) Document Type: Critical essay  Length: 1,890 words Full Text:  [(essay date summer 2005) In the following essay, Getty defines the titular rose of “A Rose for Emily” as a symbol of secrecy with mythological and religious connotations.] The possible meanings of both the title and the chronology of William Faulkner’s “A Rose for Emily” have been debated for years.1 What is not under debate, however, is that the chronology deliberately manipulates and delays the reader’s final judgment of Emily Grierson by altering the evidence. In other words, what the chronology does is as important as when the events actually take place. In the same way, what the title does reveals as much as the debate over what the rose means. The only rose that Emily actually receives (putting aside symbolic roses for the moment) is the rose in the title, which Faulkner as the author gives to her.2 Just as the story’s chronology is a masterpiece of subtle insinuations, so also is the title in its implications for the structure of the story. Previous attempts to offer a single explanation for the rose in “A Rose for Emily” highlight how many possibilities exist. In one sense, Homer could be the rose (Fenson and Kritzer). A combination of the rose-colored bedroom and Homer as a dried rose could serve as “a relic of the past” (Weaks 12). Homer’s body could be like a rose pressed between the pages of a book, kept “tucked away in a seldom used, rose colored room which at times can be opened” (Kurtz 40). In another sense, it might be the narrator offering a rose to Emily: either “as a final tribute” by preserving the secret of Homer’s murder (Nebeker, “Emily’s Rose” 9); or, conversely, the narrator, “unwittingly, offers little more than ‘bought flowers’ in tribute to Miss Emily” by not recognizing the truth until the hair on the pillow is found (Garrison 341). If these various symbols in the story are petals in the rose, it is important to note that the “Rose” of the title gathers all of these references together in a way that moves beyond any one source. Rather than focusing the interpretation of the rose on any number of internal elements (Homer’s body, Emily’s state of mind, the narrator’s tribute, etc.), however valid as a piece of the puzzle, the focus should be on the impact of the titular rose itself. The narrator’s ultimately limited understanding of what has been happening weakens the case for the “Rose” being a tribute by the narrator.3 No critic claims that the narrator knew about the hair on the pillow, even if the narrator (and a significant percentage of the population) knew or guessed about the murder. The reassessment of the title by the reader (but not by the narrator, who technically does not know the title and remains oblivious to any outside commentary or literary allusions) must include more than a passing thought for the author, whose sleight of hand has brought about the surprise ending. The story is, after all, a literary construct, and it is constructed under the title, or in this case sub rosa: According to legend, the Greek god of silence, Harpocrates, stumbled upon Venus while she was making love with a handsome youth, and Cupid […] bribed the god of silence to keep quiet about the affair by giving him the first rose ever created. This story made the rose the emblem of silence, and since the fifth century B.C., a rose carved on the ceilings of dining and drawing rooms where European diplomats gathered enjoined all present to observe secrecy about any matter discussed sub rosa, or “under the rose” […] The rose was also carved over the Roman Catholic confessional as a symbol of silence, and sub rosa became well known […] as a term for “strict confidence,” “complete secrecy,” or “absolute privacy.”(Hendrickson 167-68) Jack Scherting’s Freudian reading of “A Rose for Emily” uses the sub-rosa concept only to suggest that Emily’s attachment to her father had lasting repercussions: “The Oedipal desires expressed in Emily’s affair with Homer were never recognized by the people of Jefferson, and Emily herself was aware of them only as subconscious longings” (404). On the contrary, the townspeople are extremely sensitive to Emily’s psychological state. When Emily tries to keep her father’s corpse, they “believed that she had to do that. We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will” (124).4 The fact that certain people in town knew that Homer was in the upstairs room argues a similar recognition of Emily’s need to cling to Homer as she had tried to cling to her father: only, this time, they let her keep the body. Whereas Scherting limits the title to expressing Emily’s state of mind with her lover, I would argue that the entire story operates subrosa to conceal that iron-gray hair on the pillow until after Emily is dead. Furthermore, Faulkner preserves Emily’s privacy by never allowing the reader, or the narrator, to become a voyeur. When Emily drives the Baptist minister away, we are told that “He would never divulge what happened during that interview” (126): meaning, of course, that the town must have pressed him for details enough times to realize that he would not talk. No one is allowed inside the bedroom until both former occupants are dead, and the full understanding of Emily’s state of mind (despite the inevitability of speculation on the subject) remains known only to Emily and her author. The religious implications of the sub-rosa concept apply to the story as well. Beyond the numerous secrets kept by various members of the community (from the Baptist minister to Tobe), the concept of the confessional, with the carved rose above it, applies more to the Episcopalian Emily than it does to her Baptist neighbors. Although not all present-day Episcopalians practice extreme unction, the Articles of Religion established by the American branch of the Episcopal (Anglican) church in 1801 include a description of how extreme unction fits into church practice. Obviously, in Emily’s case, the possibility for a full confession before death exists only with her author, and his knowledge of her actions remains confidential until after her death. Structurally, the Grierson house itself adds both a physical and a figurative frame to the sub-rosa aspect of the story: “It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies” (119). The house, described as “lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps” (119), is almost certainly decorated in places with carved flowers, the rose being a favorite choice among the Victorians. The main secrets in Jefferson take place inside that building, and the most important secret is revealed only after the flowers have been placed on Emily’s grave. The “Rose” of the title extends far beyond any one flower or literary allusion in its implications for the story’s structure. The “Rose” represents secrecy: the confidential relationship between the author and his character, with all of the privileged information withheld. Notes 1. A sampling of critical suggestions for the chronology can be found in the articles by Going, McGlynn, Nebeker “Chronology Revisited,” Sullivan, Wilson, and Woodward. Literary allusions for the story are discussed by Barber, Barnes, Birk, Edwards, Going, Hays, Levitt, Mellard, Stevens, Stewart, Stronks, and Winchell. 2. Faulkner’s well-known answer about the title’s meaning has been recognized as vague and, more important, evasive: Q. What is the meaning of the title “A Rose for Emily”? A. Oh, it’s simply that the poor woman had no life at all. Her father had kept her more or less locked up and then she had a lover who was about to quit her, she had to murder him. It was just “A Rose for Emily”–that’s all. (Faulkner in the University 87-88). 3. A sampling of critical views of the narrator include the articles by Burduck, Nebeker (“Emily’s Rose”), Rodgers, Rodman, and Sullivan. 4. I am using the Collected Stories of William Faulkner (New York: Vintage, 1977) 119-30. Works Cited Barber, Marion. “The Two Emilys: A Ransom Suggestion to Faulkner?” Notes on Mississippi Writers 6 (1973): 103-05. Barnes, Daniel R. “Faulkner’s Miss Emily and Hawthorne’s Old Maid.” Studies in Short Fiction 9 (1972): 373-77. Birk, John F. “Tryst Beyond Time: Faulkner’s ‘Emily’ and Keats.” Studies in Short Fiction 28.2 (1991): 203-13. Burduck, Michael L. “Another View of Faulkner’s Narrator in ‘A Rose for Emily.'” UMSE 8 (1990): 209-11. Edwards, C. Hines, Jr. “Three Literary Parallels to Faulkner’s ‘A Rose for Emily.'” Notes on Mississippi Writers 7 (1974): 21-25. Faulkner in the University: Class Conferences at The University of Virginia 1957-1958. Ed. Frederick L. Gwynn and Joseph L. Blotner. New York: Vintage, 1959. Fenson, Harry, and Hildreth Kritzer. Reading, Understanding, and Writing About Short Stories. New York: Free Press, 1966. Garrison, Joseph M., Jr. “‘Bought Flowers’ in ‘A Rose for Emily.'” Studies in Short Fiction 16.4 (1979): 341-44. Going, William T. “Chronology in Teaching ‘A Rose for Emily.'” Exercise Exchange 5 (1958): 8-11. Hays, Peter L. “Who is Faulkner’s Emily?” Studies in American Fiction 16 (1988): 105-10. Heilmeyer, Marina. The Language of Flowers: Symbols and Myths. New York: Prestel, 2001. Hendrickson, Robert. Ladybugs, Tigerlilies and Wallflowers. New York: Prentice Hall, 1993.Kurtz, Elizabeth Carney. “Faulkner’s ‘A Rose for Emily.'” Explicator 44.2 (1986): 40. Levitt, Paul. “An Analogue for Faulkner’s ‘A Rose for Emily.'” Papers on Language and Literature 9 (1973): 91-94. McGlynn, Paul D. “The Chronology of ‘A Rose for Emily.'” Studies in Short Fiction 6 (Summer 1969): 461-62. Mellard, James M. “Faulkner’s Miss Emily and Blake’s ‘Sick Rose’: ‘Invisible Worm,’ Nachträglichkeit, and Retrospective Gothic.” The Faulkner Journal (1986): 37-45. Nebeker, Helen E. “Chronology Revised.” Studies in Short Fiction 8 (Summer 1971): 471-73. ——. “Emily’s Rose of Love: Thematic Implications of Point of View in Faulkner’s ‘A Rose for Emily.'” RMMLA Bulletin 24 (1970): 3-13. Rodgers, Lawrence R. “‘We All Said, “She Will Kill Herself”‘: The Narrator/Detective in William Faulkner’s ‘A Rose for Emily.'” Clues 16.1 (Spring-Summer 1995): 117-29. Rodman, Isaac. “Irony and Isolation: Narrative Distance in Faulkner’s ‘A Rose for Emily.'” The Faulkner Journal 8 (1993): 3-12. Scherting, Jack. “Emily Grierson’s Oedipus Complex: Motif, Motive, and Meaning in Faulkner’s ‘A Rose for Emily.'” Studies in Short Fiction 17.4 (1980): 397-405. Stevens, Aretta J. “Faulkner and ‘Helen’: A Further Note.” Poe Newsletter 1 (October 1968): 31. Stewart, James Tate. “Miss Havisham and Miss Grierson.” Furman Studies 6 (Fall 1958): 21-23. Stronks, James. “A Poe Source for Faulkner? ‘To Helen’ and ‘A Rose for Emily.'” Poe Newsletter 1 (April 1968): 11. Sullivan, Ruth. “The Narrator in ‘A Rose for Emily.'” Journal of Narrative Technique 1 (September 1971): 159-78. Weaks, Mary Louise. “The Meaning of Miss Emily’s Rose.” Notes on Contemporary Literature 11.5 (November 1981): 11-12. Wilson, G. R., Jr. “The Chronology of Faulkner’s ‘A Rose for Emily’ Again.” Notes on Mississippi Writers 5 (Fall 1972): 44, 56, 58-62. Winchell, Mark Royden. “‘For All the Heart’s Endeavor’: Romantic Pathology in Browning and Faulkner.” Notes on Mississippi Writers 15.2 (1983): 57-63. Woodward, Robert H. “The Chronology of ‘A Rose for Emily.'” Exercise Exchange 13 (March 1966): 17-19. Full Text: COPYRIGHT 2007 Gale, Cengage Learning Source Citation (MLA 9th Edition)  Getty, Laura J. “Faulkner’s ‘A Rose for Emily.’.” Short Story Criticism, edited by Jelena O. Krstovic, vol. 97, Gale, 2007. Gale Literature Resource Center, link.gale.com/apps/doc/H1420075885/GLS?u=lincclin_ircc&sid=bookmark-GLS&xid=ccad8e0b. Accessed 27 Oct. 2021. Originally published in Explicator, vol. 63, no. 4, Summer 2005, pp. 230-234. Gale Document Number: GALE|H1420075885

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