Absalom, Absalom!

by William Faulkner

Rosa Coldfield Character Analysis

Miss Rosa Coldfield is an elderly woman who lives in Jefferson, Mississippi. She’s one of the novel’s main narrative voices—the novel opens with Quentin sitting in Miss Rosa’s stuffy, dimly lit house as she tells him the story of how Thomas Sutpen doomed and destroyed her family. Miss Rosa’s tone and language make clear her hatred and resentment toward Sutpen—she repeatedly describes him as a “demon” or an “ogre.” Through Rosa (and through Mr. Compson), Quentin learns of Sutpen’s arrival in Jefferson and his efforts to gain the “respectability” central to his “design.” In Rosa’s story, Sutpen strategically ingratiates himself with the well-respected Coldfields, involves Rosa’s father (Goodhue Coldfield) in a dubious business scheme, and marries and has two children with Rosa’s much-older sister (Ellen Coldfield). After Ellen and Mr. Coldfield’s deaths, Rosa woes to live with Judith and Clytie at Sutpen’s Hundred. When Sutpen returns from the war, Rosa, now 20, agrees to marry him. However, after Sutpen insults her (he says he’ll only marry her after they have sex and she successfully produces a male heir), she flees Sutpen’s Hundred and spends the next 43 years as a shut-in, consumed by her hatred for Sutpen. At the end of the story, somehow knowing that there is “someone” hiding in the old Sutpen house, Miss Rosa orders Quentin to accompany her to the old Sutpen house, where she finds a dying Henry Sutpen, who has lived as a fugitive for decades following his murder of Charles Bon. Three months later, she returns with an ambulance to bring Henry medical attention, but Clytie mistakes the ambulance for the authorities and lights the house on fire, killing herself and Henry. Rosa dies three months later.

Rosa Coldfield Quotes in Absalom, Absalom!

The Absalom, Absalom! quotes below are all either spoken by Rosa Coldfield or refer to Rosa Coldfield. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Storytelling, Perspective, and Truth  Theme Icon
).

Chapter 1 Quotes

Then hearing would reconcile and he would seem to listen to two separate Quentins now—the Quentin Compson preparing for Harvard in the South, the deep South dead since 1865 and peopled with garrulous outraged baffled ghosts, listening, having to listen, to one of the ghosts which had refused to lie still even longer than most had, telling him about old ghost-times;

Related Characters: Rosa Coldfield, Quentin Compson
Related Symbols: Ghosts and the Supernatural 
Page Number: 3
Explanation and Analysis:

His childhood was full of them; his very body was an empty hall echoing with sonorous defeated names; he was not a being, an entity, he was a commonwealth. He was a barracks filled with stubborn back-looking ghosts still recovering, even forty-three years afterward, from the fever which had cured the disease, waking from the fever without even knowing that it had been the fever itself which they had fought against and not the sickness, looking with stubborn recalcitrance backward beyond the fever and into the disease with actual regret, weak from the fever yet free of the disease and not even aware that the freedom was that of impotence.

Related Characters: Quentin Compson, Rosa Coldfield, Thomas Sutpen
Related Symbols: Ghosts and the Supernatural 
Page Number: 6
Explanation and Analysis:

Maybe you have to know anybody awful well to love them but when you have hated somebody for forty-three years you will know them awful well so maybe it’s better then maybe it’s fine then because after forty-three years they cant any longer surprise you or make you either very contented or very mad.

Related Characters: Rosa Coldfield, Thomas Sutpen, Quentin Compson
Related Symbols: Ghosts and the Supernatural 
Page Number: 9
Explanation and Analysis:

Chapter 2  Quotes

It was a day of listening too—the listening, the hearing in 1909 even yet mostly that which he already knew since he had been born in and still breathed the same air in which the church bells had rung on that Sunday morning in 1833 […].

Related Characters: Quentin Compson, Mr. Compson, Rosa Coldfield, Thomas Sutpen
Page Number: 22
Explanation and Analysis:

He might not have gone out of his way to keep Sutpen in jail, but doubtless the best possible moral fumigation which Sutpen could have received at the time in the eyes of his fellow citizens was the fact that Mr Coldfield signed his bond—something he would not have done to save his own good name even though the arrest had been a direct result of the business between himself and Sutpen—that affair which, when it reached a point where his conscience refused to sanction it, he had withdrawn from and let Sutpen take all the profit, refusing even to allow Sutpen to reimburse him for the loss which, in withdrawing, he had suffered, though he did permit his daughter to marry this man of whose actions his conscience did not approve. This was the second time he did something like that.

Related Characters: Mr. Compson (speaker), Rosa Coldfield, Thomas Sutpen, Goodhue Coldfield, Quentin Compson, Ellen Coldfield
Page Number: 38-39
Explanation and Analysis:

Chapter 3 Quotes

He brought the two women deliberately; he probably chose them with the same care and shrewdness with which he chose the other livestock—the horses and mules and cattle—which he bought later on.

Related Characters: Mr. Compson (speaker), Clytie, Thomas Sutpen, Rosa Coldfield, Quentin Compson
Related Symbols: Sutpen’s Design
Page Number: 48
Explanation and Analysis:

That’s what Miss Rosa heard. Nobody knows what she thought.

Related Characters: Mr. Compson (speaker), General Compson, Quentin Compson, Rosa Coldfield, Henry Sutpen, Thomas Sutpen, Charles Bon, Ellen Coldfield
Page Number: 62
Explanation and Analysis:

Chapter 4 Quotes

There was no time, no interval, no niche in the crowded days when he could have courted Judith. You can not even imagine him and Judith alone together. Try to do it and the nearest you can come is a projection of them while the two actual people were doubtless separate and elsewhere—two shades pacing, serene and untroubled by flesh, in a summer garden […].

Related Characters: Mr. Compson (speaker), Rosa Coldfield, Charles Bon, Thomas Sutpen, Judith Sutpen, Quentin Compson
Page Number: 77
Explanation and Analysis:

Chapter 5 Quotes

That is the substance of remembering—sense, sight, smell: the muscles with which we see and hear and feel—not mind, not thought: there is no such thing as memory: the brain recalls just what the muscles grope for: no more, no less: and its resultant sum is usually incorrect and false and worthy only of the name of dream.

Related Characters: Rosa Coldfield (speaker), Thomas Sutpen, Quentin Compson, Mr. Compson
Page Number: 115
Explanation and Analysis:

Now you will ask me why I stayed there. I could say, I do not know, could give ten thousand paltry reasons, all untrue, and be believed:—

Related Characters: Rosa Coldfield (speaker), Quentin Compson, Goodhue Coldfield, Charles Bon, Thomas Sutpen, Mr. Compson
Page Number: 123
Explanation and Analysis:

I waited for him exactly as Judith and Clytie waited for him: because now he was all we had, all that gave us any reason for continuing to exist, to eat food and sleep and wake and rise again: knowing that he would need us, knowing as we did (who knew him) that he would begin at once to salvage what was left of Sutpen’s Hundred and restore it.

Related Characters: Rosa Coldfield (speaker), Judith Sutpen, Thomas Sutpen, Clytie
Related Symbols: Sutpen’s Design
Page Number: 124
Explanation and Analysis:

I mean that he was not owned by anyone or anything in this world, had never been, would never be, not even by Ellen, not even by Jones’ granddaughter. Because he was not articulated in this world. He was a walking shadow.

Related Characters: Rosa Coldfield (speaker), Ellen Coldfield, Thomas Sutpen, Wash Jones, Milly Jones
Related Symbols: Sutpen’s Design
Related Literary Devices:
Page Number: 139
Explanation and Analysis:

Chapter 7 Quotes

“So he just wanted a grandson,” he said. “That was all he was after. Jesus, the South is fine, isn’t it. It’s better than the theatre, isn’t it. It’s better than Ben Hur, isn’t it. No wonder you have to come away now and then, isn’t it.”

Related Characters: Shreve McCannon (speaker), Rosa Coldfield, Mr. Compson, Thomas Sutpen, Quentin Compson
Related Symbols: Sutpen’s Design
Page Number: 176
Explanation and Analysis:

Chapter 9 Quotes

“Yes. I remember your grandpaw. You go up there and make her come down. Make her go away from here. Whatever he done, me and Judith and him have paid it out. You go and get her. Take her away from here.”

Related Characters: Clytie (speaker), Charles Bon, Thomas Sutpen, General Compson, Quentin Compson, Rosa Coldfield, Judith Sutpen, Henry Sutpen
Page Number: 296
Explanation and Analysis:

“[…] Now I want you to tell me just one more thing. Why do you hate the South?”

“I dont hate it,” Quentin said, quickly, at once, immediately; “I dont hate it,” he said. I dont hate it he thought, panting in the cold air, the iron New England dark: I dont. I dont! I dont hate it! I dont hate it!

Related Characters: Shreve McCannon (speaker), Quentin Compson (speaker), Rosa Coldfield, Henry Sutpen
Page Number: 303
Explanation and Analysis:
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Rosa Coldfield Character Timeline in Absalom, Absalom!

The timeline below shows where the character Rosa Coldfield appears in Absalom, Absalom!. The colored dots and icons indicate which themes are associated with that appearance.
Chapter 1
The South  Theme Icon
On a hot afternoon in September, Quentin sits with Miss Rosa Coldfield in Miss Rosa’s stifling, dim room. The blinds to the office have remained closed... (full context)
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Quentin listens to Rosa speak. Her voice sounds as though a ghost is haunting it, and Quentin’s attention wavers.... (full context)
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Miss Rosa is talking about Colonel Sutpen, who arrived here “out of nowhere,” accompanied by “a band... (full context)
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Miss Rosa says she’s telling all this to Quentin because she figures he’ll pursue a career in... (full context)
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Quentin recalls how earlier that day, Miss Rosa Coldfield sent him a note demanding he see her. The request puzzled Quentin. Though he’s... (full context)
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Rosa’s family is famous around Jefferson, Mississippi (where Rosa and Quentin live). Her father, Goodhue Coldfield,... (full context)
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When Quentin returns home that evening, he asks his father, Mr. Compson, why Miss Rosa chose him to tell her story to. Mr. Compson says it’s because she’ll need a... (full context)
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The narrative returns to Rosa’s story, conveyed in Rosa’s own words. Colonel Sutpen “wasn’t a gentleman,” she notes. He arrived... (full context)
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Rosa explains that marrying Ellen didn’t make Sutpen into “a gentleman”—not that he’d wanted to be... (full context)
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Rosa makes no excuses for her choices, she tells Quentin. After all, she had 20 years... (full context)
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Rosa asks Quentin, “Is it any wonder that Heaven saw fit to let us lose?” He... (full context)
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Rosa laments having been too young at the time for the story of Ellen, Judith, and... (full context)
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The Limits of Ambition  Theme Icon
Rosa will always remember the first time she saw Thomas and Ellen’s children, Judith and Henry,... (full context)
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Rosa remembers another time she and Mr. Coldfield went to the house to see Ellen. In... (full context)
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Rosa and Mr. Coldfield go to Sutpen’s Hundred (his estate) once a year to have dinner,... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
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Social Taboos, Racism, and Inherited Trauma  Theme Icon
...Judith to see the shows—only Henry. Ellen wishes she could believe him. In the present, Rosa explains to Quentin that she didn’t actually witness this scene—she wasn’t there to see Judith... (full context)
Chapter 2 
Storytelling, Perspective, and Truth  Theme Icon
The Limits of Ambition  Theme Icon
...with his father, Mr. Compson, waiting for it to be time to listen to Miss Rosa. Mr. Compson describes to Quentin the occasion of Colonel Sutpen’s arrival. In Mr. Compson’s telling,... (full context)
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The South  Theme Icon
The Limits of Ambition  Theme Icon
...town to predict which woman’s dowry Sutpen will covet to achieve the “respectability” that Miss Rosa believes is his main goal. (full context)
Chapter 3
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Mr. Compson continues his telling of Sutpen’s story. He explains that Rosa went to live with Judith at Sutpen’s Hundred after Mr. Coldfield died in 1864. It... (full context)
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Rosa, Mr. Compson suggests, may have seen Mr. Coldfield’s death as “fate itself supplying her with... (full context)
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Mr. Compson shifts his focus to Rosa’s childhood visits to Sutpen’s Hundred with her spinster aunt. During these visits, Rosa is ordered... (full context)
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By the time Rosa is 10, the spinster aunt has run away, and so Rosa visits Sutpen’s Hundred once... (full context)
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One year, the visits simply stop, though it’s never clear to Rosa why. Mr. Coldfield never explains his decision. It could be that there’s no point now... (full context)
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Rosa won’t see Sutpen again for many years, but she sees a lot more of Judith... (full context)
The South  Theme Icon
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Rosa didn’t see Henry the winter he and Charles Bon were home from school, though she... (full context)
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The South  Theme Icon
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...would be an act of “vanity” to drop by and give unwarranted advice about Miss Rosa’s clothes or the house’s décor. It’s 1860 now, and war is inevitable. Meanwhile, the Sutpen... (full context)
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The Limits of Ambition  Theme Icon
Rosa hasn’t seen Charles Bon at this point. Bon is a few years older than Henry... (full context)
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Hearing Ellen talk about Bon, Rosa—“the spinster doomed for life at sixteen”—isn’t jealous of Judith. Nor does she feel sorry for... (full context)
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Despite Henry’s abrupt departure, Rosa carries on as though nothing is wrong, continuing to sew Judith’s wedding dress. Then the... (full context)
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Miss Rosa doesn’t see the regiment leave Jefferson because Mr. Coldfield forbids her from doing so. But... (full context)
The South  Theme Icon
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...and nails the door shut behind him, and he remains there until his death. Miss Rosa, who before now hasn’t had to learn any practical skills (her aunt had raised her... (full context)
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...going to live with Judith at Sutpen’s Hundred would be the most practical choice for Rosa, she doesn’t do this at first. Though Ellen had asked Rosa to protect Judith, Mr.... (full context)
Chapter 4
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The South  Theme Icon
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It’s still not dark enough for Quentin to go to Miss Rosa’s—not as dark as she’d prefer it, anyway. Quentin imagines her waiting for him in her... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
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Social Taboos, Racism, and Inherited Trauma  Theme Icon
...Mr. Coldfield dies, having starved to death in his attic, and Judith likely invites Miss Rosa to come live with her (Mr. Compson guesses). Miss Rosa declines the offer, apparently waiting... (full context)
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...Henry. And all this leads to the point in the story when Wash Jones approaches Rosa Coldfield’s house to announce that Henry killed Bon.  (full context)
Chapter 5
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 The narrative switches back to Rosa telling her story to Quentin, picking up after Wash Jones tells her about Bon being... (full context)
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But the people who talk about her can’t describe what Rosa did once she arrived at Sutpen’s Hundred—how she approached the “rotting” place, its dilapidated, empty... (full context)
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Rosa starts to head upstairs, where she believes she’ll find Bon’s bloodied corpse on “that sheetless... (full context)
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It’s at this point that Rosa realizes what she “could not, would not, must not believe,” implying that Clytie, too, is... (full context)
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Rosa, in the present, gets sidetracked by memories of the wistaria she smelled when she was... (full context)
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In the present, Miss Rosa describes her sense of Bon as “a child’s vacant fairy-tale” and insists that she “did... (full context)
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Rosa’s story flashes forward to the day she arrives at Sutpen’s Hundred following Bon’s murder. Judith... (full context)
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The South  Theme Icon
Rosa, Judith, and Clytie carry the coffin out of the house that afternoon. Judith’s face is... (full context)
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...town will give a bunch of “paltry reasons, all untrue, and be believed” for why Rosa stays at Sutpen’s Hundred following Bon’s death. They’ll say she stays for food, though she... (full context)
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Sutpen returns in January, and he and Rosa are engaged within three months. (Rosa, in the present, gives no excuses for her behavior,... (full context)
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Rosa and the others hardly see Sutpen that winter; he’s often gone all day. It’s that... (full context)
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Then one day, while working in the garden, Rosa looks up and sees Sutpen looking back at her. (In the present, she’s adamant that... (full context)
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After the engagement, Sutpen doesn’t look at Rosa again. She feels she could have gone home, and he wouldn’t have noticed—she only fills... (full context)
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Meanwhile, nobody sets a date for the wedding. One day, Sutpen insults Rosa, yelling for her to “come” to him—after not addressing her once since he slipped the... (full context)
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In the present, Rosa scornfully talks of all the rumors people in town have spread about why she left... (full context)
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But, Rosa assures Quentin, she did forgive Sutpen for the insult. In fact, she feels she “had... (full context)
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Miss Rosa’s story trails off as Quentin stops listening and considers how he, too, cannot walk through... (full context)
Chapter 6
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...room at Harvard. An opened letter sits on the table—it’s from Quentin’s father, announcing Miss Rosa’s recent death and burial. She had been in a coma for weeks before her death... (full context)
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Quentin has been telling Shreve what happened after Miss Rosa told him that someone was hiding in the old house on Sutpen’s Hundred. Shreve is... (full context)
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 Shreve repeats back the basic arc of Rosa’s life, starting with the childhood she spent “in a household like an overpopulated mausoleum” and... (full context)
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Shreve’s account also sheds light on the insult that caused Rosa to leave Sutpen’s Hundred: Sutpen suggested he and Rosa have sex before marrying, and if... (full context)
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...point, the story shifts to a different perspective (it isn’t clear whose), picking up after Rosa’s departure from Sutpen’s Hundred. Sutpen, at some point, begins a sexual relationship with Milly, the... (full context)
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...1964, evading Yankee troops all along the way. Quentin, in the story’s present, imagines Miss Rosa at Sutpen’s Hundred following Ellen’s death, gazing at the gravestone Sutpen prematurely ordered for himself... (full context)
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...for 26 years. Quentin confirms that this is true. Shreve then expresses disbelief that “Aunt Rosa” could think that there was someone else living there—after all, Judith and Bon are both... (full context)
Chapter 7
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...know that Bon was Sutpen’s son. Sutpen never told him—Quentin did, after he and Miss Rosa went to the house that one night. (Quentin trails off here, apparently unable to articulate... (full context)
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...his return to Sutpen’s Hundred, he immediately gets to work. He gets engaged to Miss Rosa, “suggest[s] what he suggest[s] to her,” and then Rosa, insulted, leaves Sutpen’s Hundred for good. (full context)
Chapter 8
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The narrative shifts suddenly to Shreve’s retelling of what Quentin and Miss Rosa encountered in the old house the night Miss Rosa took Quentin there three months prior.... (full context)
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...Jones helped them carry the body into the house and then went to fetch Miss Rosa, who walked in on Judith crying as she clasped the metal case—containing not her picture... (full context)
Chapter 9
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Shreve returns the focus to “Aunt Rosa,” brushing off Quentin’s correction (“Miss Rosa”). Shreve says that Quentin can’t even know all that... (full context)
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...still feel the dust of that hot Mississippi night in September. He can smell Miss Rosa riding in the buggy beside him. The narrative shifts to that night as Quentin’s memories... (full context)
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As Quentin and Miss Rosa approach Sutpen’s Hundred, Miss Rosa notes that they’re “on the Domain. On his land, his... (full context)
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“She’s going to try to stop me,” Miss Rosa says. Quentin asks what “she” has hidden in the house, but Miss Rosa ignores him.... (full context)
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When Quentin and Miss Rosa arrive at the door to the old house, Miss Rosa urges Quentin to break it... (full context)
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...word to him. Instead, she calmly walks to the door and opens it for Miss Rosa, as though she’s been expecting her all these years. Miss Rosa enters the house and... (full context)
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Quentin hears Miss Rosa fall, then he hears a man’s voice. The man, who is Black, identifies himself as... (full context)
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The narrative abruptly skips forward. Quentin has stopped the buggy at Miss Rosa’s gate after returning from Sutpen’s Hundred. This time, Miss Rosa lets Quentin help her down... (full context)
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With no clear transition, the narrative shifts back to Quentin and Rosa’s trip to Sutpen’s Hundred earlier that night. Quentin enters an empty room and sees a... (full context)
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...room in Cambridge. Shreve expresses disbelief that after encountering Henry after all these years, Miss Rosa waited another three months to come back and finish the task she set out to... (full context)
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Shreve and Quentin relate the rest of the story. Three months after Miss Rosa and Quentin discover Henry in the old house, Rosa calls an ambulance to transport Henry... (full context)
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...before she started the fire. The three occupants of the ambulance rush out, with Miss Rosa screaming at them to look up at the second-story window, where the figure of a... (full context)
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Shreve picks up the story. Miss Rosa returns to town and goes to bed that night knowing “it was all finished now”... (full context)
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In his letter, Mr. Compson expresses his hope that in death, Miss Rosa hasn’t escaped “the objects of the outrage and of the commiseration” but will instead join... (full context)