Sullivan, for example, sees an oedipal connection (resulting from the Oedipus complex) between the death of Miss Emily's father and her later embraceùfiguratively and physically--of Homer Barron. Sullivan also makes a connection between Miss Emily's necrophilia and the notion of the demon (i.e., forbidden, perverse) lover as expressed in Coleridges "Christabel" (4366). Miss Emily and her father had cut a strikingly unified dramatic figure, "a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door" (Faulkner 27). Such a description has the tension and texture of sexuality, of life lived, however platonically, in an atmosphere of vibrance and self-aware drama. This is the emotional core that determines the character of the "high and mighty Griersons" (Faulkner 26), so unacceptable to the gross, teeming world" (Faulkner 26) of common folk in Jefferson.
It is Miss Emily's misfortune never to find the equal of her father's person
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