example of short formalist criticism or essay

“A Rose for Emily” by William Faulkner: Character Analysis Words: 654
“A Rose for Emily”: The Plot Analysis Words: 646
Analysis of “A Rose for Emily” by William Faulkner Words: 583
Theme of “A Rose for Emily” by William Faulkner Words: 843
The Story “A Rose for Emily” by William Faulkner Words: 1411
Faulkner’s “A Rose for Emily”: Analysis of the Plot Words: 630
Analyzing the Short Story: A Rose for Emily Words: 770
“A Rose for Emily” by William Faulkner Review Words: 831
The Character of Miss Emily in Faulkner’s “A Rose for Emily” Words: 829
A Rose for Emily Literary Analysis Words: 883
Narrative Perspective of “A Rose for Emily” by William Falkner Words: 744
Literary Criticism of Faulkner’s “A Rose for Emily” Words: 1166
Faulkner’s “A Rose for Emily” vs. Gilman’s “The Yellow Wallpaper” Words: 2216
William Faulkner’s World Revealed in “A Rose for Emily” Words: 1650

Formalist Criticism of “A Rose for Emily” by William Faulkner

Introduction, point of view, works cited.

In the short story “A Rose for Emily,” written by William Faulkner, the Old South is portrayed through the lens of symbolism. Hence, the emotional response of the people, who witnessed the tragic events stemming from the main character’s unrequited love, which is unacceptable for her position, can be examined by assessing the principal components of the matter. The most critical factors include the presentation of information by observers, the atmosphere of the house, the individuals involved in the events, and the progression of the author’s thoughts. Therefore, the analysis of this piece while adopting formalist techniques can help better understand the social climate of the time demonstrated by Faulkner by including symbolism significant for the setting, characters, plot, and perspective.

One of the considerations which allow readers to delve into the feelings and thoughts of the people in this story is the point of view, which is the description of events in the first person. Thus, the author writes, “we did not say she was crazy then,” and “we remembered all the young men her father had driven away,” thereby clarifying the significance of the citizens in this story (Faulkner 4). By doing so, he highlights the importance of the observers’ standpoint as they are viewed as the source of credible information regarding the events in the life of Miss Emily. Also, this method of describing the tragedy in the woman’s house confirms the crucial role of people’s judgment in the decisions made by the main character. The woman, which was apparently ill, was guided by her perceptions of visible appropriateness in order to avoid being scrutinized by others (Faulkner 5). In this way, this point of view draws attention to the population’s social norms instead of individual attitudes.

The selected point of view is complemented by the physical setting in “A Rose For Emily,” which allows contrasts the main character’s isolation and exclusion from societal affairs. The two main locations used in the story are the woman’s house and Jefferson Town, and they provide the contrast between Emily and other citizens (Faulkner 1). They are essential for demonstrating the conflicting views of the main character and others. Thus, the former is presented by the house’s melancholic but powerful atmosphere, which is combined with the fact that no visitors are allowed (Khrais 124). In turn, the latter is seen in the modern South with new values and advanced structures, such as pavements, which is opposed to the old times to which Emily belongs (Khrais 123). These two settings effectively reflect the mood of the two sides while creating the overall environment for the narrative.

In the story, the main characters are Emily Grierson, her lover Homer Barron, Emily’s father, Mr. Grierson, their servant Tobe, and Judge Stevens, and only the former two are described in detail. Emily is depicted as “a small, fat woman in black,” who once was slender and gentle (Faulkner 2). Homer is presented as “a big, dark, ready man, with a big voice and eyes lighter than his face,” which is the exact opposite of the descendent of an aristocratic family (Faulkner 5). Their differences are visible both in appearance and character, and they help highlight the importance of social customs of the time (Bai et al. 614). Also, the fact that others are not clearly determined, one might conclude the sufficiency of Emily and Homer for depicting the conflict.

The plot of the story is arranged in such a way that the reader sees the events of the past from the perspective of the present. This piece begins with the funeral of Emily Grierson, which is an interesting occasion for the town since the woman is associated with the Old South (Faulkner 1). In the continuation of the narrative, the structure is non-linear since all the memories about this person are mixed with her occasional involvement in societal affairs (Faulkner 5). These sources of information about the woman are combined with her criticism in the past due to the fact that her behavior was different from the citizens’ expectations. Hence, “poor Emily” was judged for selecting an inappropriate partner (Faulkner 6). This way of portraying the events adds to the complexity of people’s perceptions depending on their positions in society and, consequently, exacerbates the conflict.

In the story, the symbols, which transmit a larger meaning, are the town, the house, and the rose. First, the Southern culture is shown in the change of Jefferson town, which is transformed under the influence of the emerging values substituting old perceptions (Bai et al. 613). Therefore, it depicts the collision of the past and the present and serves as the background for the main events. Second, the house of Emily symbolizes the decay of aristocracy and the traditional views on marriage, family, and other norms (Bai et al. 613). It is thereby opposed to the town and used as the characteristic of the previously existing systems. Third, the rose indicates the pursuit of happiness by the main character, who failed to achieve it since, like a flower, it is a temporary phenomenon (Bai et al. 614). Thus, these symbols help create the necessary mood for perceiving the events of the story.

The central theme of this piece is the effects of societal norms on a person’s life regardless of the time. From this point of view, Emily’s fate was dictated by the condemnation of her relationship with Homer when she was a young woman, as well as the curiosity of citizens concerning her house and living conditions in general (Krebs 1). The former factor partially led to the tragic death of the man, whereas the latter circumstances contributed to the intention to conceal the crime in an unexpected manner. The idea of the interdependency of people’s interests in others’ affairs and old social customs is close to the author since Faulkner was obsessed with the past (Rollyson 18). This fact explains his intention to write a piece that reflects on the conditions required to be followed strictly by the previous generations.

To summarize, the examination of the components of the story “A Rose for Emily,” written by William Faulkner, shows the society of the Old South and its transformation. This stance is supposed to be shared by the readers as the description in the first person is aimed at involving them in the matter. The setting represented by the house and the town corresponds to the conflict between the woman from the past and the present-day citizens, and the particular attention to Emily and Homer contributes to this comparison. The non-linear structure of the plot demonstrates the complexity of the subject, and the symbols underpin the idea of transforming societal norms, which, nevertheless, affect everyone’s lives.

Bai, Xiaojun, Xiaotong Zhang, and Yihui Li. “An Analysis of Emily’s Characters in A Rose for Emily from the Perspective of Narration.” Journal of Language Teaching and Research , vol. 11, no. 4, 2020, pp. 611-615.

Faulkner, William. A Rose For Emily. Perfection Learning, 1990.

Khrais, Sura M. “An Eyesore Among Eyesores”: The Significance of Physical Setting in Faulkner’s “A Rose for Emily.” International Journal of Applied Linguistics and English Literature , vol. 6, no. 6, 2017, pp. 123-126.

Krebs, Sarah. “Weather-Worn and House-Hidden.” English 100 & 200 Conference, 2019, Western Kentucky University . Web.

Rollyson, Carl. The Life of William Faulkner: The Past Is Never Dead, 1897-1934. University of Virginia Press, 2020.

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A Formalist Approach to “The Story of an Hour”

The following sample literature essay is 1087 words long, in apa format, and written at the undergraduate level. it has been downloaded 24726 times and is available for you to use, free of charge., send via email.

Kate Chopin’s short story “ The Story of an Hour ” is filled with little surprises. She sets the reader in one direction with a specific image, and then startles you with a change of direction. Our initial look at the protagonist of the story is one of a delicate woman, easily harmed. “Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death” (Chopin 1894). The writer cleverly does two things in this opening line that will be used later in the story to surprise the reader. The first is creating an image of a delicate woman. The second is making us aware she has a heart condition. We are drawn in immediately by the news that she is about to be informed she is a widow. The use of surprise and plot intrigue is clearly evident in this short story, lending it to be easily observed from a formalist approach. Our textbook states: “This approach is most widely used in literary comparison and criticism; it focuses on the form and development of the literary work itself” (Clugston, 2010). Chapter 16.2 of our text asks why is the plot intriguing? Did surprise occur? The surprise twists in this short story are what make it stand out, and what makes the piece memorable. The first sentence of the story will come back to haunt the reader in a short while, with a surprise ending to the story. This story suits the formalist approach as it is filled with surprise twists.

After hearing of her husband’s death, the woman reacts strongly: “She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief had spent itself, she went away to her room alone. She would have no one follow” (Chopin 1894). With these lines the image of an exceptionally grief-stricken widow comes to mind. The reader sees the utter collapse of this woman, wildly thrashing in grief, and then removing herself to grieve alone. She goes upstairs and sits by a window, staring at the spring scene budding below her. “She could see in the open square before her house the tops of trees that were all aquiver with the new spring life” (Chopin 1894). To the reader, this image of budding spring contrasts deeply with the image of a weeping widow, facing an empty life and dealing with death instead of the spring of life. Chopin writes about the spring scene, a metaphor for life, with its blue sky and bird song.

As we are led into this image of life and contrasting death, Chopin begins leading us to our first surprise. She uses a foreshadowing technique to keep us interested: “There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air” (Chopin 1894). The reader feels a foreboding, still the feeling of death lingers, and we expect bad news. The first surprise is striking. We are awaiting disaster, yet the young widow, with her unlined face streaming tears feels released “When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: free, free, free!” (Chopin 1894). The reader is left aghast.

Chopin describes an ordinary love between husband and wife. The widow will “weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome” (Chopin 1894).

As a reader, I was shocked at this turn of events, yet accepted this statement that she loved him, yet felt released. As Chopin continues to write descriptively about the widow’s reaction to her husband’s death, this sympathy waned somewhat. The widow is really truly elated at the prospect of widowhood. To add a bit of historical perspective here, one could look at the author’s own history of widowhood and independence, and occasional “scandalous” writing. One of her novels, “The Awakening” was criticized because it dealt with a woman’s strength despite her adulterous life, and Chopin often wrote about her personal quest for freedom (Clugston, 2010). The content and message of “The Awakening” caused a stir in local society, and Chopin was denied admission into the St. Louis Fine Art Club after its publication. In the remaining short five years of her life she wrote only a few short stories (Wyatt 1995).

The ending of the story contains the final surprise. After the reader is completely aware of the widow’s elation at her sudden freedom, even despite having loved her husband, he walks in the front door very much alive. The widow drops dead at the sight of him. “When the doctors came, they said she had died of heart disease – of joy that kills” (Chopin 1894). This is the final irony and twist in this short interesting story. Esther Lombardi in her article, “How to Become a Critical Reader” states: “Consider the title. What does it tell you about what the book, essay, or literary work is about?” (Lombardi). “The Story of an Hour” is filled with twists and plot intrigue, describing the reality of what one-hour can hold in the course of life’s surprise ups and downs. Kate Chopin does a wonderful job of manipulating the story to mirror the unexpected events that can occur at any time in our lives.

Chopin, K. (n.d.). "The Story of an Hour". Virginia Commonwealth University. Retrieved September 18, 2013, from http://www.vcu.edu/engweb/webtexts/hour/

Clugston, W. (2010). Responding to Literary Experience, Literary Criticism: A Brief Overview. Journey into Literature (pp. Ch 2, Ch 16). San Diego CA: Bridgepoint Education Inc.

Lombardi, E. (n.d.). How to Become a Critical Reader . Books & Literature Classics. Retrieved from http://classiclit.about.com/od/forstudents/ht/aa_criticalread.htm

Wyatt, N. (n.d.). Biography of Kate Chopin. Virginia Commonwealth University. Retrieved from http://www.vcu.edu/engweb/webtexts/hour/katebio.html

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“The Formalist Critic” by Cleanth Brooks: Summary and Critique

“The Formalist Critic” by Cleanth Brooks was first published in 1947 as part of the influential collection The Kenyon Review.

Introduction: “The Formalist Critic” by Cleanth Brooks

Table of Contents

“The Formalist Critic” by Cleanth Brooks was first published in 1947 as part of the influential collection The Kenyon Review . This essay is a cornerstone of New Criticism, a literary movement that emphasized close reading and formal analysis of a text, independent of authorial intent or historical context. Brooks’s exploration of the formalist approach in this essay has had a profound impact on literary criticism and continues to be widely studied and debated.

Summary of “The Formalist Critic” by Cleanth Brooks

Role of Literary Criticism :
Literary criticism is primarily concerned with “a description and an evaluation of its object,” focusing on the literary work itself. The main issue for critics is “the problem of unity”—how the various parts of a work contribute to creating or failing to create a cohesive whole. This perspective emphasizes that criticism should not just describe but also evaluate the effectiveness of this unity in the literary piece.
Form and Content Unity :
In literature, “form and content cannot be separated,” as “form is meaning.” This principle highlights the idea that the structure of a work is not just a vessel for content but is integral to the work’s overall meaning. A successful literary work achieves a seamless fusion of form and content, making them indistinguishable from one another.
Focus on the Work Itself :
The formalist critic is “concerned primarily with the work itself,” rather than the author’s life, intentions, or the reactions of various readers. The critic’s task is to analyze the structure and unity of the literary work, avoiding distractions from external factors such as “biography and psychology” or “the history of taste.” This focus allows for a more precise and objective analysis of the literary piece.
Rejection of Authorial Intent and Reader Response :
The formalist critic assumes that “the relevant part of the author’s intention is what he got actually into his work.” This means that the critic does not prioritize what the author consciously tried to achieve or what the author recalls about the writing process. Additionally, the critic uses the concept of an “ideal reader” to maintain a central point of reference, focusing on the “structure of the poem or novel” rather than the spectrum of potential interpretations by various readers.
Criticism of Popular Value Tests :
Formalist criticism rejects the idea that the value of a work can be determined by the author’s “sincerity” or “the intensity of the author’s feelings as he composed it.” For example, Ernest Hemingway’s claim that his last novel was his best is dismissed as “pathetically inept” in determining the novel’s actual value. Similarly, subjective reactions, such as A. E. Housman’s “bristling of his beard at the reading of a good poem,” are considered irrelevant unless they come from a reader whose critical judgment is already trusted.
Criticism’s Modest Role :
The role of the critic is described as “modest,” focusing on assessing whether a literary work “has succeeded or failed.” Critics offer only “negative help” to practicing artists, as literature is “not written by formula,” and thus, the critic has no formula to offer. The critic’s function is not to prescribe but to provide feedback that might inform, but not dictate, artistic creation.
Distinction Between Literary Criticism and Other Analyses :
Literary criticism is distinct from other types of analysis, such as reducing a work “to its causes” or estimating “its effects.” While acknowledging that a literary work “mirrors the past” and “may influence the future,” formalist criticism focuses on the work itself rather than its external influences or consequences. Good literature is considered “more than effective rhetoric applied to true ideas,” and thus, literary criticism must go beyond simply evaluating rhetoric or philosophical content.
Misunderstandings and Objections :
Formalist criticism often faces the criticism that it “cuts loose” the work from its author and audience, making the analysis seem “bloodless and hollow.” However, the formalist critic argues that distinctions between the work and its external context are “necessary and useful and indeed inevitable” for effective criticism. By focusing on the “structure of the thing composed,” formalist critics maintain that they are not denying the humanity of the author or the reader but are instead striving for a more precise and objective understanding of the literary work itself.

Literary Terms/Concepts in “The Formalist Critic” by Cleanth Brooks

Contribution of “the formalist critic” by cleanth brooks to literary theory/theories.

Pioneering Close Reading: Brooks significantly advanced the critical method of close reading, emphasizing the intrinsic analysis of a text.
Form as the Core of Meaning: His insistence on the inseparability of form and content redefined the understanding of literary meaning.
Autonomy of the Literary Work: Brooks contributed to establishing the literary text as an independent entity, distinct from its author and reader.
Rejection of Extrinsic Criticism: He challenged the dominance of biographical, historical, and sociological approaches, advocating for a focus on the text itself.
Foundational Role in New Criticism: Brooks’ essay was instrumental in shaping the New Critical movement, a significant force in twentieth-century literary criticism.
Enduring Influence: His ideas continue to be a cornerstone of literary analysis, informing contemporary critical discourse.
Clarification of Critical Boundaries: Brooks delineated the scope of literary criticism, distinguishing it from other modes of inquiry.
Redefining the Critic’s Role: His conception of the critic as an objective analyst has had a lasting impact on critical practice.

Examples of Critiques Through “The Formalist Critic” by Cleanth Brooks

Criticism Against “The Formalist Critic” by Cleanth Brooks

Neglect of Historical and Social Context: Critics argue that formalism’s emphasis on the text in isolation ignores the crucial influence of historical and social factors on literary production and interpretation.
Authorial Intent Dismissed: Formalism’s disregard for authorial intent is seen as limiting, as understanding the author’s purpose can enrich interpretation.
Reader Response Overlooked: By focusing solely on the text, formalism fails to account for the diverse and subjective experiences of readers.
Limited Scope of Analysis: Critics contend that formalism’s narrow focus on textual elements restricts the range of critical inquiry and interpretation.
Elitism and Impracticality: Some argue that formalism’s emphasis on complex analysis makes it inaccessible to a wider audience, rendering it elitist and impractical.
Overemphasis on Unity and Coherence: Critics point out that not all literary works strive for perfect unity, and formalism’s insistence on coherence can overlook the value of fragmentation and ambiguity.
Ahistorical Approach: Formalism’s neglect of historical context can lead to a distorted understanding of literary works and their significance.
Ignoring the Political and Ideological: By focusing on formal elements, formalism often overlooks the political and ideological dimensions of literature.